The title of the opening exhibition of The Green Parrot, The World of Interiors, comes from a well-known British interior design magazine. One of the most interesting artists to come out of 1970s London, French artist Marc Camille Chaimowicz, used the technique of collage to intervene in an issue. The result was a very personal artist book in which he articulated the concept of interior as something in which the poetic cannot be separated from the political, nor the personal from the critical. This work functions as an introduction to the exhibition, in which five artists subtly explore the meaning of the word interior as something not only domestic but also related to the most intimate part of our subjectivity: its objects and its imaginary. In a similar way, The Green Parrot, due to its architecture, also suggests a relation with the exhibition space and with the artists more intimate and affective, opening up different relational possibilities and possible meanings.
In parallel to the exhibition, we will present the first issue of the TGP Readers, a series of publications designed by Hijos de Martín that contains critical texts related to the concepts raised on the exhibitions. TGP Reader #1 comprises the essay "Do objects have a good life?" by Peio Aguirre and a textual work by Henning Lundkvist.
El título de la exposición que inaugura The Green Parrot, The World of Interiors, proviene de una conocida revista de decoración. Uno de los artistas más interesantes del Londres de los años setenta, el francés Marc Camille Chaimowicz, realizó una intervención en uno de los números. Las imágenes de los interiores de clase alta se intercalaban con textos y fotografías personales, sugiriendo una sensibilidad en la que lo decorativo no puede desligarse de lo político, ni lo crítico de lo personal. Este trabajo funciona como introducción a la exposición, en la que los cinco artistas también exploran diferentes significaciones de la palabra interior, como un término no sólo relacionado con lo doméstico sino con lo más íntimo de nuestra subjetividad, ya sea a través de los objetos o de sus imaginarios. De manera similar, The Green Parrot, debido a su arquitectura, también sugiere una relación con los artistas y con el espacio expositivo más íntima y afectiva, en la que poder experimentar otros discursos y economías posibles.
Paralelamente a la exposición, presentamos también el primer número de TGP Readers, una serie de publicaciones diseñada por Hijos de Martín que contendrá textos críticos relacionados con la temática de cada una de las exposiciones. TGP Reader #1 está compuesta por el texto "¿Llevan los objetos una buena vida?" de Peio Aguirre y una intervención de Henning Lundkvist.
Eva Fàbregas’ work deals with today’s endless mobility and circulation of commodities, signs and people. She has an interest in Modernism and industrial design as an “international style” of homogenized and transportable patterns and forms. They are universal and therefore sold in the international global market.
In Settlement (2014) Eva Fàbregas uses patterns from found Scandinavian caravan brochures, reproduced to create the wallpapers that now decorate the walls of The Green Parrot. These mobile entities are universal dwellings, the dream of Modern architecture of modular manufactured objects that can create a transportable city.
Self-organizing system (2014) is a colony of swarming objects that consists of polystyrene foam inserts, edge protectors and other industrial packing materials, all of which were originally designed for protecting consumer goods and fragile items in transit. Styrofoam materials are as ubiquitous as they are essential to the global circulation of commodities, but reaching their destination they are immediately discarded. By attaching motors, sensors and electronic components to these found materials, they are enabled to navigate across the space, moving around slowly and even interacting to one another as a community of their own, while the viewer is encouraged to seek patterns of emergent order in their obscure behaviour. Left to their own devices, these minimal objects remain within the sphere of circulation but are no longer in need of human agency to instigate their mobility.
Catoptrophilia (2013) by David Ferrando Giraut is a 3D animation film structured around the encounter between two objects belonging to two different, distant historical moments, but whose complex set of symbolic functions are, in a way, intimately connected: an Egyptian hand mirror from the New Kingdom (XV C. BC) dedicated to Hator, goddess of beauty, and an iPhone 4 Elite, released by Apple, California, in 2011.
In a narrative that crosses different civilizations and historical moments, the piece stresses how the human tendency to create images has depended, from ancient times to the current moment, on the supply of mineral resources; resulting in the emergence of a system of slavery in which a dominant class --aristocracy in the past, the citizens of the so called first world in the present-- has access to the creation of their own image; an image, that, in return, exerts a different type of submission, of dependence, upon them.
Matteo Mottin, ATP Diary, 4 September 2014
The Green Parrot presents Wild Things, the last chapter in a trilogy of exhibitions that brings together topics related to design, economy and sociology in an attempt to understand the shifting dynamics of human-object relationships.
Starting from The World of Interiors, which was followed by Unforeseen Changes, the three shows have reflected on the materiality of the everyday in terms of space, time, and body. The title of the current show comes from Judy Attfield’s reflection on material culture studies: a distinction is made between what the author names as Design objects and everyday objects. If the former is assigned a modernist stance, charged with the purpose of improving the world through the production of new forms within mainstream discourse, the latter would be something produced by all of us in our daily living, the wild things, the kitschy, the commonplace.
In this sense, the exhibition addresses current questions related to the relation between the physical and the virtual, focusing on the body as the place where this encounter takes place. Post-photography has highlighted the problematic layers of the photographic medium; rather than producing analogous pictures, it now explores the virtual realm, where the so-called “real” is deconstructed. It is within our body that these immaterial images coalesce and return to a concrete form. Drawing also from Hans Belting’s take on the embedded relationship between society and images, Wild Things explores how the circulation of images impacts our engagement with objects and the world at large. In the words of Belting: “We live with images, we comprehend the world in images. And this living repertory of our internal images connects with the physical production of external pictures that we stage in the social realm.
By unpacking and exploring the way one makes sense of the world through physical elements and their representations, Wind Things reconsiders the dynamics at play between object and subject in the free flowing construction of the everyday. Things are made wild again, and so are we. Wild thing, you make my heart sing…
Art Viewer, 6 November 2015
"Different voices crossed and blent in a continuous verbal flow... And as you know, speaking is a form of self-eroticism, and therefore of pleasure, and that was clear as you listened to Radio Alice. (...) Voices without images, voices that intensified in the dark."
Interview to Clemens Gruber, 1977 l’anno in cui il futuro cominciò, Franco Berardi (Bifo) e Veronica Bridi (eds.), Fandango libri, Roma, 2002
The show at The Green Parrot includes two works, the newly commissioned Ghost sitting on bar stool (2015) and Dead blink (2014).
Ghost sitting on bar stool belongs to a set of texts in which Romão becomes the ghostwriter for a ghost, delegating all forms of authorship to the figure. Following the line of its previous apparitions, at The Green Parrot a room will be left empty and scarcely lit with only a bar stool (a Duplex, designed in Barcelona in 1986 by Javier Mariscal), a microphone with its stand, some cables, a speaker, and a pre-recorded track that embodies the presence of a ghost addressing the audience. The new text builds on the tension between material and immaterial forms of corporeality, the ghost personifying the systems and invisible abstractions that act upon bodies. The text reclaims the body as a living organism, mixing it with a number of references to articles and pamphlets published in Italy in the context of Autonomia. The stool, heavily inspired by Italian post-modern design, is placed in a tense relation with the text, becoming almost reactionary in its referencing to a specific historical shift. In this way, Romão blurs the divide between social experiments of communality and self-knowledge and the hedonistic hyper-social sort of socialization that followed. It is unclear how the destruction of social subjects and the claiming of one's own body was transformed into body culture; the bar becoming one of these vague places in which desire was articulated.
Dead blink is a 35mm slide projection of 81 colour slides of the same image: an empty eye of a bronze roman sculpture. The image, photographed in Museo Nacional Romano – Villa Massimo in Rome, shows a dark hollow space where an ivory eye once stood, long gone due to the fragility of the organic material. The slideshow of the images is programmed in a succession that mimics the speed of the human eye blinking movement, creating a ghost-like presence, an artificial shutter of an inanimate object.
Both works revolve around the idea of how looking and being looked at may be seen as early economical gestures, desire operating as a form of prospecting profit. Classical psychology proposes: “How can the other be used to satisfy one’s own desire”? In this case, desire works as a ghostly mechanism that activates exchange, may it be erotic, historical or economic.
André Romão was born in Lisbon, Portugal in 1984, where he lives and works. A selection of his solo exhibitions include: A Nervous Smile, MACRO – Museo d’Arte Contemporanea, Rome (2014); Golden Masks hide Decomposing Bodies, Galeria Baginski, Lisbon (2013); Notes on the History of Violence, Middelheim Museum, Antwerp (2012); Barbarian Poems, Galleria Umberto di Marino, Naples (2011); The Vertical Stage, Kunstlerhaus Bethanien, Berlin (2010); The Winter of (our) Discontent, Kunsthalle Lissabon (2010). His work has been featured in group exhibitions such as Europe, Europe, Astrup Fearnley Museet, Olso (2014); BES Revelação, Museu de Serralves, Porto (2013); [szkmr] (as Atlas Projectos), Galerie Kamm, Berlin (2013); PhotoCairo 5, Townhouse Factory Space, Cairo (2012); Às Artes, Cidadãos!, Museu de Serralves, Porto (2010); Res Publica, Fundação Calouste Gulbenkian, Lisbon (2010); Democracy among Tyrants, Galeria Pedro Cera, Lisbon (2009); A River Ain’t too Much to Love, Spike Island Art Center, Bristol (2008), among others. His first selection of writings was now published under the title “Perpex. Marble, Bone” on the occasion of the exhibition “Europe, Europe” at the Astrup Fearnley Museet in Olso.
Mousse Diary, December 2014 - January 2015
Susana Pomba, Missdove, 19 January 2015
Eugènia Sendra, Time Out Barcelona, 16 January 2015
Noèlia Hernández, Cultura La Vanguardia, 21 February 2015
Basim Magdy’s films, photographs and paintings stage liminal spaces that make problematic the rigid structures of historical representations. Rather than a nostalgic gazing back in time, Magdy’s works propose a reassessment of our possible futures through a questioning of established readings of the past. By underlining our daily conscious or unconscious forms engagement with historical discourses, his work points out our participation in the construction of collective readings of the past and projections for the future, therefore signalling our ability to participate in the shaping of the present. In The Relentless Repetition of Reality, Basim Magdy presents two moving image works: The Everyday Ritual of Solitude Hatching Monkeys, a 2014 16mm film transferred to digital, and the double slide projection A 240 second analysis of failure and hopefulness (with coke, vinegar and other tear gas remedies) (2012).
The Everyday Ritual of Solitude Hatching Monkeys explores the friction between textual narrative, inspired by the short stories of Magdy’s father, intricate soundscape, and luminous, colourful dreamlike images. The footage was shot in different locations around the world and their juxtaposition in the film creates a transitory and yet interconnected feel to these sites. By depicting modernist tropes, a recurrent subject of Magdy’s work, such as trains tracks, as well as ancient ruins, fascist monuments and post-modernist objects, The Everyday Ritual (…) creates a fluid temporal and spatial framework in which personal and collective memories blur together. The diffuse story emerging out of the juxtaposition of the films elements, whose possible links are left open, problematises stable narratives of the past and invites us for a playful revision of future hopes and dreams.
A 240 second analysis of failure and hopefulness (with coke, vinegar and other tear gas remedies) consists of 160 color slides shown on two synchronized slide carousel projectors. The images depict a demolition site as it emerges into a construction one, which were developed through an elaborate process of exposure to common household chemicals, such as vinegar, coca cola and others, which have been used as anti tear–gas remedies by revolutionaries throughout the Middle East over the past two years. The visibility given to both works’ processes of making, through a permanent exploration of the medium’s materiality, might be read simultaneously as an echo of history’s material foundations as well as of an indication of the artificiality of its narratives, and therefore as as indication of the productive possibilities lying in historical cracks and openings.
Irini Miga, Daily Lazy, 5 June 2015
Art Viewer, 1 August 2015
Vivi Kallinikou, Art Rabbit, 23 June 2015
Teresa Solar Abboud’s first solo presentation in Barcelona brings together new pieces as well as elements belonging to a set of projects the artist has been recently working on, namely her new film "Al Haggara" ("The Stone" in English). Sculptures, set props, photography and video form a composition in which all parts are related through concepts such as loss of control and layering. The works are organised around three agents: a sign language interpreter, a free-diver and pelagic fish.
-- The sign language interpreter
These pieces explore the materialisation of sign language, understanding language as an action produced through one’s hands. Its starting point was Nelson Mandela’s memorial sign language interpreter Thamsanqa Jantjie who lost control over his hands and performed an absurd language. Is our body an opaque and unknown agency within ourselves able to operate independently as in the case of Jantjie? Are the terms mind, body, language, thought and experience, diplomatic attempts to occupy material and foreign territory?
The Dead Hand’s System
This work belongs to a series of collages that explore the stories of five characters who lose control of their limbs in different ways. The collage has been "updated" for the exhibition by adding one more story to the existing ones.
During the making of this piece the artist lost control over the linguistic signs she was applying to the clay. The piece is made of discarded letters from other pieces which makes the combination of letters meaningless. It is an estranged solidification of language, making visible an agency operating in each of us and over which we have no control. It can also be understood as a sound wave representation, as if the letters would stand for acoustic signals, or perhaps an immense growl.
-- The free diver
The figure of the sea and especially that of underwater exploration are recurrent images in Solar’s practice. While space exploration is one of the paradigms of human progress, we have only mapped around 10% of our oceans, still standing as unknown territory which can be related with our limited knowledge about ourselves.
Free diving is an exercise that aims to reach a limit, a record marked by a tape measure. In free immersion apnea the diver plunges using a sled that overcomes the resistance of the water and should only focus in strictly controlling their internal organs and exercising the ears preventing them to collapse, while enduring enormous pressure and pain on their bodies. The free diver sets a strict protocol with the other divers examining their jump which entails a series of precise gestures indicating the dive is proceeding well.
This work analyses the story of Tanya Streeter who in 2002 broke the record of free immersion apnea in male and female categories reaching 160m depth. When she reached the 160m mark and in order to rise back to the surface, Streeter needed to unscrew an air valve which would allow her back up in full speed without effort, but due to the high pressure of the seabed and while suffering from narcosis she forgot the appropriate gesture system and how to open the valve and instead she made a gesture similar to "kissing the sea". After a few moments of panic Streeter managed to open the valve and returned back to surface.
Kiss to the sea
Video and sculpture in resin, 2015
The video shows Streeter exercising her breathing capability by moving her diaphragm while telling the story of the apnea record. The abstract image echoes an understanding of "language as modulated breath" exploring the morphology of the breathing apparatus and speech.
The sculpture mimics the free diver’s gestures of "kissing the sea" and opening the valve: two movements performed by two hands creating two pieces. The work has a sticky and moist texture, similar to that of something found in the deep sea or like a solid excretion born out of Streeter's alienated gestures. As something akin to language.
-- The deep scattering layer
The last section of the exhibition relates once more with the exploration of the sea but in this case with a more scientific approach related to the almost unknown areas of the deep oceans and the pelagic fish that inhabits them.
The deep scattering layer
Methacrylate plate engraved, 2015
Night Canopy, 2015
It is a fragment of a set made for the film that Solar has recently shot named "Al Haggara". The structure is an interpretation of the canopy of the Annunciation by Fra Angelico, but was also influenced by Nut, the Egyptian goddess of the night, covering the ground with her cloak of darkness. Differently from the film, the canopy is not shown supported by columns but rather lying on the floor, sideways, like a kind of stellar shipwrecked. The set is used as a surface, a structures that ultimately represents the absolute cancellation of any certainty, any absolute ideas. This understanding connects with the inability to find a stable definition about what language is, on how it develops and where it comes from and therefore questions our place as communicating beings. On its backside, the structure is filled with different parts of film sets, adding layers of leftovers and waste that support the fallen sky, while echoing the deep scattering layer of the sea.
Untitled , 2015
The photograph depicts the chaos of a fragile structure about to collapse. Several materials visible in the picture can also be seen at the rear of the set. The reflective fabric in the foreground mirrors the bladders of fish bouncing against the sonar and functioning as reflecting mirrors.
Presentació de la publicació L’architecture d’aujourd’hui de Regina Giménez, editada per Enric Farrés Duran pel nou projecte editorial Los cinco delfines. Amb un text de Rosa Lleó.
A partir de la coneguda revista històrica L'architecture d'aujourd'hui, la Regina Giménez ha desenvolupat un procés de treball on analitza els elements publicitaris i els modifica de manera que aquests canvien totalment el seu significat. A través d'un exercici d'abstracció desvetlla la seva composició gràfica i ofereix una altra lectura d’unes imatges vinculades als nous materials de construcció de l'època. Les imatges van acompanyades d'un text que ens presenta una sèrie de personatges de novel·la que viuen dins d'aquesta arquitectura d'avui, o potser d'ahir, que s'anunciava com a moderna i atemporal.
Regina Giménez (Barcelona, 1966) ha realitzat exposicions a la Galerie Pierre Hallet, Brussel·les; el Museu d’art Modern de Tarragona; Galerie Acturtus, Paris y col·lectives al Museu Municipal de Bellas Artes Juan Sanchez, Argentina; Bienal de Valls, Tarragona, Galeria Trama y Galeria +R. Junt amb Rafel G. Bianchi porten el projecte editorial El dit a l’ull.
Los cinco delfines és una iniciativa d'Enric Farrés Duran i neix com a una modesta plataforma editorial des d'on produir cinc projectes artístics en format imprès.
Produced in 2013-2014 for the 2015 Triennial at the New Museum: Surround Audience, the 16mm film Spiral Forest (kingdom of all the animals and all the beasts is my name) explores the tropical Brazilian forest and was shot with a custom built camera that is able to rotate 360° in any axis. To create this work, Steegmann Mangrané collaborated with engineers Nicola di Chio and Stefan Knauer. The camera’s motor powers its rotations changing orientation at irregular intervals (according to a score pre-determined by the artist), every time shooting from a new angle.
Viewed in a dark room and submitted to the disorienting effect created by the abrupt shifts in perspective, one begins to see the landscape for its particular elements, abstracted from the familiarity as leaf, branch or tree. By imposing a constantly shifting orientation of the image, Spiral Forest evokes a vivid physical experience but at the same time its structure reminds the spectator of the separation between gaze and corporeal being. The possibilities of phenomenological exploration offered by this technology are important: the body of the spectator is projected into the continuous spiral of the film, entering the flow of the images in motion (a chiasmic entanglement, as the cinema theorist Vivian Sobchack would say).
Steegmann Mangrané looks at how technological forms has transformed our understanding of nature and our place in the universe. With each change in our conception of nature, we have also to adjust our understanding of our own nature. The work allows us to be situated in a new perspective, echoing the Amerindian cosmologies that have so strongly influenced his practice.
Throughout the walls one finds 5 poems by Stela do Patrocínio, transcribed by Viviane Mosé. Carla Guagliardi, a Brazilian artist based in Berlin, introduced Steegmann Mangrané to Patrocinio's poems, which have become a strong influence on him ever since then. Stela do Patrocínio lived in the Colônia Juliano Moreira mental hospital – in which the artist Arthur Bispo do Rosário was also hospitalized - and where Guagliardi participated in a program of visiting artists. While in residency Guagliardi met Stela and recorded her daydreams/poems on cassette tapes that were later transcribed in the book Reino dos animais e dos bichos é meu nome [“Kingdom of all the animals and all the beasts is my name”].
The poems are fragmented by geometric designs resembling the ones found in the collage Kiti Ka'aeté (2011) also displayed in the show. Steegmann Mangrané's geometric designs have overlaped with photography, here they are juxtaposed with Patrocinio's radical discourse. The work becomes a register of the contradictions and the supposed illness of her thinking processes which are echoed by the straight lines cutting letters of the texts.
Stela do Patrocínio remind us of the words of Merleau-Ponty. Where is the limit between the body and the world, since the world is flesh? Where in the body are we to put the seer, since the body is only "shadows stuffed with organs," that is, more of the visible? The world seen is not “in” my body, and my body is not “in” the visible world ultimately, as flesh applied to a flesh, the world neither surrounds it nor is surrounded by it.
 The Interlacing – The Chiasm, Maurice Merleau-Ponty in The Visible and the Invisible.
Works included in the show:
Spiral Forest (kingdom of all the animals and all the beasts is my name) | 2014–2015
16mm film, 11 min, looped
Kiti Ka’aetê | 2009
Photographic collage | 18,3 x 13 cm
Eu não queria me formar | 2015
Serigraphy on wall |100 x 70 cm
Daniel Steegmann Mangrané was born in 1977 in Barcelona, Spain, and lives in Rio de Janeiro.
Selected solo exhibitions include: Animal que no existeix–Daniel Steegmann Mangrané, CRAC Centre Rhénan d'Art Contemporain, Alsace, Altkirch (2014); Cipó, Taioba, Yví, Casa França-Brasil, Rio de Janeiro (2013); and Bicho de nariz delicado, Uma certa falta de Coerência (A Certain Lack of Coherence), Porto, Portugal (2013), Duna económica / Maqueta sin calidad, Halfhouse, Barcelona, (2011). Group shows and biennales, include: Triennial: Surround Audience, The New Museum, New York; Canibalia, Kadist Art Foundation, Paris ; Species of Spaces, MACBA, Barcelona (all 2015), Ir para volver, 12th Bienal de Cuenca, Ecuador; Anti-Narcissus, CRAC Centre Rhénan d'Art Contemporain, Alsace, Altkirch ( both 2014); Weather Permitting 9th Mercosul Biennial, Porto Alegre; Suicide Narcissus, Renaissance Society, Chicago; Unique Forms of Continuity in Space, 33° Panorama da Arte Brasileira, Museu de Arte Moderna de São Paulo; Utopien Vermeiden, Werkleitz Biennale 2013, Halle; Tropicalia Negra, Museo Experimental el Eco, Universidad Nacional Autónoma de México, Mexico DF (all 2013); The Imminence of Poetics, 30th Bienal de São Paulo, São Paulo (2012).
With the support of Fundació Antoni Tàpies and Esther Schipper
Artificialia takes as a starting point the cabinet of curiosities, where during the 16th and 17th Century, explorers displayed and catalogued their discoveries. In this case, the figure of the explorer becomes that of a bookseller that starts a trip to the 70s Catalonia, where she contact the artists that were producing publications at that time. At her return, the bookseller will narrate the chronicle of this trip at The Green Parrot Cabinet. There will also be a programme that includes the series of talks called "Conversations", with artists that have taken part on this trip, and "Findings", where some special guests will explain us the history behind one of their collection's books.
The Green Parrot Cabinet is an exhibition space in the form of a book shelf where every three months we invite somebody close to the world of artists books to develop a project.
ATLAS PROJECTOS es una editorial de proyectos artísticos en formato impreso, audiovisual y expositivo. Fundada en 2007 por los artistas André Romão, Gonçalo Sena y Nuno da Luz, tiene su sede entre Lisboa y Berlín.
Son una editorial intenta dar visibilidad y circulación a aquellos proyectos y contenidos en los que creen. Cada objeto sigue su lógica de producción y tiraje, trabajando en una estrecha relación entre autores y colaboradores. Para ATLAS, ser consciente de los medios de producción hoy en día significa definir el modo en el que se debe comunicar y actuar, no por estar autorizados a hacerlo por poderes instituidos, sino a través de una política de dedicación incondicional en la que se reflejan también todos sus colaboradores.
Desde 2008 ATLAS PROJECTOS ha presentado sus actividades a través de conferencias y lecturas performativas en castillo/corrales (París), Altes Finanzamt (Berlín), Jan van Eyck Academie (Maastricht), Museu do Chiado (Lisboa) Galerie KAMM (Berlín) y han participado en ferias de libros como SPREAD (Milán), Miss Read (Berlín), PA/PER VIEW (Oporto) y I Never Read (Basilea).
Más información en: www.atlasprojectos.net
The work of Oriol Vilanova (Manresa, 1980) is based on subtle gestures that talk about the power of images and the economy of success. These gestures can be formalised in multiple forms, from architectural installations, to theatre plays to a single small postcard. The work To be precise appears when the artist is invited by The Green Parrot to realise an intervention at an exhibition space in the form of a 3 x 2 meter cabinet. Vilanova is a collector of different types of printed matter and also creator of his own Publisher called “Editions for Friends”. The Green Parrot Cabinet until now hosted projects dedicated to publishers and artists’ books. After several long discussions on how to adjust his own research to this project it was decided to go further and create a site-specific intervention: to collapse the cabinet with more than 90.000 piled postcards in a way that none of the images is visible. The rest of the exhibition space is empty, generating an opposite to the immense pictorial volume that is concentrated on the cabinet. ¿How many exhibitions can be done with that amount of postcards if framed and displayed on the wall? How much would the economic value increase after having entered the artistic circuit?
Oriol Vilanova visits the flea market each Sunday to select and buy specific postcards for his own collection. He normally buys no more than a dozen. The millions of postcards from the installation To be Precise have not been selected, The Green Parrot has bought them by lots and groups. The importance was to make a whole piece, reaching the quantity above any specific selection. But in both cases the economy in place has been that of the bargaining in order to get them as cheap as possible, with the same intermediaries, ending up in the specific economy of the art world.
Solo exhibitions (selected); Renoncer à te décrire, Centre d'Édition Contemporaine, Geneve (2014); Petit taxi, Grand Taxi, L'Appartement 22, Rabat (2014); She corrects manners laughingly, Fundació Joan Miró - Espai 13, Barcelona (2013); The Small Collection Room, Nottingham Contemporary (2013); Quizá es cierto en teoría, Parra & Romero Gallery, Madrid (2012); Ex Aequo, Palais de Tokyo - Modules, Paris (2012), Group exhibitions (selected); The whole world, up to today, Villa du Parc, Annemasse (2015); Generación 2015, La Casa Encendida , Madrid (2015); Sous nos yeux, MACBA, Barcelona (2014); Le Tamis et le Sable, Maison Populaire, Paris (2013); Au revoir, FRAC Champagne-Ardenne, Reims (2012).
Eugènia Sendra, Time Out, 28 April 2015
Art Viewer, 4 June 2015
Bonart, 22 April 2015
The Green Parrot is currently flying away from its permanent location at C/Bot 21. Stay tuned for the location of our next events.Close
≪From our office window we can hear the screams of the Quaker parrots, a species from Argentina that has adapted very well to the Mediterranean climate and lives together with other local birds since more than a decade. It is a colourful element that contrasts with the local fauna of pigeons, doves and sparrows. These green parrots reinforce Barcelona’s pseudo-tropical image, that of a holiday destination that brings each year more than seven million tourists looking for sun and party. Nowadays we can say that we are closer to the global south than anything that happens culturally beyond the Pyrenees. Similar to what the Argentinian parrot did, we have to adapt to certain conditions through other economies and other ways of doing, linked to generosity and to a close relation with the artists, the audience and a critical discourse ».
The Green Parrot is a non-profit space dedicated to contemporary art practices. It hosts a programme of four exhibitions per year and a series of other items derived from each show:
THE GREEN PARROT READERS
A series of critical texts in the form of small publications that generate a critical research beyond the works of the exhibition.
THE GREEN PARROT CABINET
An exhibition space on a book cabinet that every three months invites an artist or an expert on publications to comission a project.
THE GREEN PARROT EDITIONS
From each show, we will produce a limited edition for sale.
THE GREEN PARROT COLONY
A members programme to support the project that will count on a programme of activities related to each exhibition.
Miguel Amado, Carles Guerra, Martí Manen.
The Green Parrot is a project by Rosa Lleó and João Laia.
TEMPORARY POSTAL ADDRESS:
The Green Parrot @ Tàpies Foundation
C/Aragó 255, 08007 Barcelona, Spain