journeytothecenterofmyminduk

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Journey is taking a break from blogging

Dear friends, 

Our project has shapeshifted for many years, and we have finally come to the decision to condense our platform to Instagram. We started as an emerging art exhibition that travelled to Los Angeles in 2012 at HM157, and reformulated in at the now dissolved Bunkhouse in Madrid, and kept on as an online platform to share exhibitions we loved and the work of artists we were excited about.

Out of the whole collective there is only me running Journey at this point, and with my own art practice and career it became completely unsustainable to keep up with Journey across platforms. 

If you wish to keep submitting your works and exhibitions please email me at 

journeytothecenterofmymind@gmail.com

Thank all so much for your contributions, see you on instagram!

G

Head Curator

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@lorenamargaritas at @pablosbirthday booth in @artgeneve (en ArtGenève) https://www.instagram.com/p/Cn72z_2otzE/?igshid=NGJjMDIxMWI=

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BIANCA PEDRINA ‘Desired Lines’ @kluckyland_dnalykculk Vienna Bianca Pedrina strolls through cities like Brno, Basel, Glasgow, Siena or Vienna, letting her gaze wander and stopping where no one else would look. Behind the surface of the façades, she sees oddities that do not fit into the perfect picture: a wall light on an antique replica, window openings that have been bricked up and rebuilt, glue residue on historic marble façades, a handprint on a sandstone column - all absurd or incongruous structural details, if one sets standards for "correct" architectural execution. In Pedrina's artistic practice, these moments represent set pieces of a parallel reality that develops away from the logic of bureaucratic planning somewhere in the open space between wild appropriation and misconduct. Her documentary photographs reflect these observations detached from their context as pars pro toto of an entire system. They subtly point to inadequacies in architecture and in doing so raise many questions, not only those that directly concern the efficiency of building processes, but also questions related to economic, ecological and social conditions of urban space. What does it mean when instrumental reason no longer takes hold and quasi-autonomous actions are left free to leave traces in the cityscape? Desire Lines or Desire Paths are self-authorised paths in public space that express shortcuts or "materialisations of needs" (Pedrina) of very different people (or animals). Thus, the "irregularities" that are uncovered are also due to various motivations: be it inability or the need to intervene in a construction process in a self-defined way or simply a faulty execution. The result, however, always marks a weak point, something that was not intended and which discreetly upsets the cityscape. Excerpt from text by Patricia Grzonka (en Vienna, Austria) https://www.instagram.com/p/Cn6ZaB5o32L/?igshid=NGJjMDIxMWI=

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‘MOTHERS’ @badreljundigallery Madrid Exhibiting works by Bea Bonafini / Marie Boyer/ Bel Fullana/ Cecilia Granara/ Emma Passera/ Camille Soualen Cur. by @elisa_ri Cecilia Granara 0 (grande dame), 2021 raw pigment and acrylic on canvas 900 x 300 cm Bea Bonafini Untitled IV, 2021 pastel on sennelier paper 40 x 30 cm Bel Fullana Virgo 333, 2022 Óleo, acrílico y spray sobre lienzo 140 x 114 cm Emma Passera L'eau dans l'eau s'écoule, (water in water flows), 2023 Glass, textile, heels, eggs, insects, water Variable dimensions Camille Soualen La danse du temps , 2021 oil on canvas 100 x 150 cm Marie Boyer Madone aux cellets, 2021 Oil on canvas 120 x 170 cm #badreljundigallery #madrid #contemporaryart #painting #femaleartist (en Badr El Jundi gallery) https://www.instagram.com/p/Cn5WyjhIGGu/?igshid=NGJjMDIxMWI=

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CURRENT UPCOMING PAST @xolo_cuintle @galeriechloesalgado Paris For the exhibition Current Upcoming Past, Xolo Cuintle invites us to enter a place that breaks with the traditional conception of time. Interested in the notion of heterochrony established by Foucault, the duo exacerbates the causal relationship between space and time in this place at the frontiers of reality. Within this time-space of ambiguous character, the present is seen as the interconnection of an indissociable past and future. While the past, which seemed to have passed, still exists here, the future is itself already present. Between continuity and rupture, juxtaposition or timelessness, the thresholds support the precarious balance of the forms. On the edge of completion [past] as well as of the beginning [upcoming], these places of borders embrace their transitory qualities. From one space to another as from one state to another, space is here linked to passage, to transformation. Almost a non-place, a simple succession of open doors, it borrows from those spaces that govern the balance [present] between different environments: the waiting room, the SAS or the lobby. For this occasion, Xolo Cuintle invites the artists Andrew Dussert, Oleg de la Morinerie and Milène Sanchez to produce a series of contributions relating to temporalities, here reimagined around the formula [current] [upcoming] [past]. #galeriechloesalgado #xolocuintle #paris (en GALERIE CHLOE SALGADO) https://www.instagram.com/p/Cn5U2heItyU/?igshid=NGJjMDIxMWI=

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‘’THE INVENTION OF NATURE’ @raum.mg16 Cologne Through January 28 ALEXANDER ECKHARDT / PAUL GALAS / DENNIS KAUZNER / YAËL KEMPF / GALA KNÖRR / HELENA MÜNCH / DAVID SCHMITZ / NILS LEVIN SEHNERT / MATTHIAS SURGES / THERESA WEBER / DENISE WERTH Cur. By @mk_artwhispering "The descriptions of nature must not be deprived of the breath of life."* In 1845 - 1862, *Alexander von Humboldt presented a unique life's work with "Kosmos", the aim of which was "to present the whole material world, everything we know today about the phenomena of the celestial spaces and of life on earth, from the nebulous stars to the geography of the mosses on the granite rocks, all in one work [...]." Needless to say, this life-encompassing undertaking cannot visualized within a small exhibition and yet the approaches are the same to search for answers or rather to question our image of nature - how does the development present itself from an artistic point of view with some subjectively selected artists and how far does the interplay between scientific empirical knowledge of nature and subjective experience of nature or its artistic further development and fictional narrative or in short its (re)invention go. In contrast to the previous exhibition PARADISIAC, which reacted to our change in perception towards a romantic understanding of nature, THE INVENTION OF NATURE focuses more on scientific and autobiographical moments. The participating artists refer to experiences of visible natural phenomena as well as emotional moments that go hand in hand with personal connection to nature and knowledge of the self. In this sense, reference might be made to Goethe's "The Sorrows of Young Werther". Goethe describes nature, in relation to Werther's emotional worlds, as a Locus Amoenus, i.e. as a "lovely place" or "place of pleasure", which, however, is not able to keep the promises made to it in the end. What expectations do works of art generate on this theme - what emotional and scientific confrontations take place and become visible? For more info kerstingm@gmx.net #raummg16 #contemporaryart #nature (en Cologne, Germany) https://www.instagram.com/p/Cn5Ivn5o9dT/?igshid=NGJjMDIxMWI=

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M. BENITO ‘Pikete Tuning’ @rekaldearetoa Bilbao Through January 15 Sala Rekalde presents in its window space the exhibition 'Pikete Tuning’ by M. Benito Piriz until January 15, 2023, thus giving continuity to the Barriek program promoted by the Provincial Council of Bizkaia. M. Benito explains that the elements of urban aesthetics such as oversized clothing, sneakers, puff jackets and tribal tattoos or body modifications have been the basis on which they have developed their fetish images. Sculptures that can be understood as transformable elements, combinable and conjoinable pieces. 'Pikete Tuning' can be considered a study of the tribal tattoo of the lower part of the back, which adapts to the body and its postures, being related to their previous project on the accessory and its adaptation to the body. ’Tener pikete’ in Spanish slang means to have style and to have it to Benito's liking. 'Pikete' refers to the outfit, to the look, to the aesthetic sense and tuning to the modification of the appearance of something to make it to their liking. Utilizing "guerrilla tuning" technique; the refinement of vehicles with cardboard and construction foam. #mbenito #sculpture #installationart #salarekalde #bilbao #barriek (en Sala Rekalde) https://www.instagram.com/p/CmuBPKVInXq/?igshid=NGJjMDIxMWI=

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PUERTAS ABIERTAS @bilbaoartefund With works by Maider Aldasoro, Daniel Alegrete González, Leyre Arraiza, Art Builders Group, Iván Beltrán, Marta Beltrán, Javier Bravo De Rueda, Lu Chamorro, Maite Choya Robredo, Silvia Coppola, Mar Cubero, Gabriela Cuestas Gómez, Élan D’Orphium, Santiago Fernández Honrubia, Ada Garrués, Salva G. Ojeda, José Félix Glez. San Sebastián, Paula Guerrero & Bruno Delgado Ramo, Iratxe Hernández Simal, Manuela Inclán, Jimena Kato, Gala Knörr, Idoia Leache, Ara Méndez Murillo, Estela Miguel Bautista, Sofía Montenegro, Ventura A. Pérez and Claudia Rebeca Lorenzo. Through December 9th. Visiting hours are 5.30-8.30pm #bilbaoarte #residency #contemporaryart #bilbao (en Fundación BilbaoArte Fundazioa) https://www.instagram.com/p/ClquvtxoXo7/?igshid=NGJjMDIxMWI=

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‘SELFIE’ @galeriampa Madrid Through Jan 21 With works by Ela Fidalgo, Gripface, Lujan Perez, Los Bravú, Gala Knörr, Julia Santa Olalla and Carla Fuentes. ‘…The social base between the daily act of instinctively looking at our own reflection in a shop window when walking down the street, to the institutionalization of the selfie as the basis of content creation, from which several million people live today, is the same. And we cannot blame ourselves: in 1890 Oscar Wilde published the Portrait of Dorian Grey, which is still a darker and less naive version of Narcissus, and with this work he puts us in front of the mirror: what place does beauty occupy in our social and power relationships? Jerry Saltz wrote in 2014: “We live in the age of the selfie. A quick self-portrait, taken with a smartphone camera and immediately distributed and embedded on a network, is an instant visual communication of where we are, what we're doing, who we think we are, and who we think is watching us. Selfies have changed aspects of social interaction, body language, self-awareness, privacy, and humor, altering temporality, irony, and public behavior. It has become a new visual genre, a type of self-portrait formally distinct from all others in history. Selfies have their own structural autonomy. This is something very important for art’’. The selfie is a new genre, with its own formal logic, structure, codes and intentionality, which grows and multiplies at such a speed that it can be one of the greatest cultural testimonies of our time today. In this exhibition, we present the work of seven Spanish artists who work around the representation of the human being, the exposure of the public image on the Internet and its interpretation through painting.’ Excerpt from the curator Ester Almeda’s text. #elafidalgo #galaknorr #lujanperez #gripface #losbravú #juliasantaolalla #carlafuentes #painting #selfie #internet #contemporaryart #galeriampa #moisesperezdealbeniz #madrid (en Galeria MPA / Moises Perez de Albeniz) https://www.instagram.com/p/CleGeRkInXP/?igshid=NGJjMDIxMWI=

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‘PARADISIAC’ @raum.mg16 Cologne Curated by @mk_artwhispering Through November 26 With works by ULU BRAUN / CRISTIANA COTT NEGOESCU / INMA FEMENÍA / IRATI INORIZA / DENNIS KAUZNER / MEVLANA LIPP / HELENA MÜNCH / FABIAN RAMÍREZ / MORITZ RIESENBECK An environment that is changing ever faster due to construction and progressive destruction raises questions about the state of nature and our relationship to it. Does increasing alienation boost the need to romanticise yesterday? Not only trends such as the idealisation of country life and the new enthusiasm for hiking are read as signs of a return to the past. However, the gaze seems to be less melancholically entrenched in the past and more forward-looking, accepting change and rediscovering neo-romantic aspects such as light, clouds, weather and their effect on landscape, nature and the individual himself. The concept of paradise in the here and now. Is it a realistic concept of paradise that takes into account the development of forests, landscapes and also the seemingly irreversible destruction of evolved ecosystems? Forests that are acutely endangered by increasingly long periods of drought could be revitalized and preserved by reforestation with less water-consuming tree species. Man finds himself again in his favorite role - that of the destroyer, or expressed somewhat more optimistically, that of the creator. This tension, as ambivalent as it seems, produces reactions: political, social and artistic reactions. Quiet to powerful statements, an examination of the ‘status quo’ of the state of nature. Attentively observed developments culminate in hope or also in the 'worst case' scenario, in the assumption of a 'paradise lost'. PARADISIAC shows a subjectively selected range of these reactions with nine international positions. #raummg16 #markuskersting #cologne #contemporaryart (en Cologne, Germany) https://www.instagram.com/p/ClY-DUUIMpK/?igshid=NGJjMDIxMWI=

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‘PARADISIAC’ @raum.mg16 Cologne Curated by @mk_artwhispering Through November 26 With works by ULU BRAUN / CRISTIANA COTT NEGOESCU / INMA FEMENÍA / IRATI INORIZA / DENNIS KAUZNER / MEVLANA LIPP / HELENA MÜNCH / FABIAN RAMÍREZ / MORITZ RIESENBECK An environment that is changing ever faster due to construction and progressive destruction raises questions about the state of nature and our relationship to it. Does increasing alienation boost the need to romanticise yesterday? Not only trends such as the idealisation of country life and the new enthusiasm for hiking are read as signs of a return to the past. However, the gaze seems to be less melancholically entrenched in the past and more forward-looking, accepting change and rediscovering neo-romantic aspects such as light, clouds, weather and their effect on landscape, nature and the individual himself. The concept of paradise in the here and now. Is it a realistic concept of paradise that takes into account the development of forests, landscapes and also the seemingly irreversible destruction of evolved ecosystems? Forests that are acutely endangered by increasingly long periods of drought could be revitalized and preserved by reforestation with less water-consuming tree species. Man finds himself again in his favorite role - that of the destroyer, or expressed somewhat more optimistically, that of the creator. This tension, as ambivalent as it seems, produces reactions: political, social and artistic reactions. Quiet to powerful statements, an examination of the ‘status quo’ of the state of nature. Attentively observed developments culminate in hope or also in the 'worst case' scenario, in the assumption of a 'paradise lost'. PARADISIAC shows a subjectively selected range of these reactions with nine international positions. #raummg16 #markuskersting #cologne #contemporaryart (en Cologne, Germany) https://www.instagram.com/p/ClY9FXLI_jl/?igshid=NGJjMDIxMWI=

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ANDREA ARTEMISIO ‘Zanzare’ @massimo_space Milan MASSIMO is thrilled to present ZANZARE, Andrea Artemisio's first solo show, from 14th to 30th October at via degli Scipioni 7. For the occasion, a never-published short film, whose title matches that of the event, offers glimpses of the everyday life of a fictitious cemetery, where an unexpected event disturbs the daily routine. The only sound I remember is that of mosquitoes. I was a child and my father used to take me to visit my mother's grave. Of those afternoons, this is all that has remained in my memory. The movie, evoking familiar feelings, brings together the typical characters and atmospheres of Artemisio's work in a single space, characterized by a never-ending search for what is immediate and spontaneous. The lack of sound and grey tones recall, emphasizing the idea of suspension. #andreaartemisio #massimomilano #contemporaryart (en Milan, Italy) https://www.instagram.com/p/Ck5j3UuoJcE/?igshid=NGJjMDIxMWI=

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BODY SNATCHER With works by Bianca Pedrina, Duhyoung Kim, Hyunjin La, Tim Löhde @assembly_leeds Curated by Namjoo Huh Supported by Art Council Korea #contemporaryart #leeds #assemblyhouse (en Assembly House) https://www.instagram.com/p/CkY_oHDoPL9/?igshid=NGJjMDIxMWI=

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RICCARDO GIACCONI ‘Sipario’ @kunstraumlakeside Klagenfurt ‘The curtains of a puppet theater, an enigmatic monologue, interspersed with poetic passages yet laden with violence, a performer wholends this text her voice, scenic depictions on a monitor, a puppet that has evidently fallen victim to a fire: According to artist RiccardoGiacconi, the exhibitionSiparioat Kunstraum Lakeside is “a hypothesis of a puppet show”. By compiling the very means needed forsuch a stage play in the space, he leaves it to these narrative elements and to the audience to evoke the drama, its protagonists, andtheir backgrounds.The scene is set with the eponymous “siparium”—the curtain that separates the stage from the auditorium during a change ofscenery. As isquite customary in puppet theater, the picture painted on the front of the curtain by the Compagnia Marionettistica CarloColla e Figli summarizes the play. Or in other words: It arranges visual elements from different moments of the potential narrative into asingle image. On one hand, these elements originate from the text that can be read and heard in the exhibition; on the other,it is a self-representation of the Carlo Colla & Sons Marionette Company, whose beginnings date back to the late eighteenth century. Ever since,members of this theater group have been working with wooden puppets in such an accomplished way that the puppets seem to teemwith life during performances…’ 📷 @johannespuch Curated by Franz Thalmair & Gudrun Ratzinger #kunstraumlakeside #klagenfurt #exhibition #research #archive #artisticresearch #riccardogiacconi #relationships #narration #coexistence #history #connectinglines #puppet #theater #puppettheater #fiction #abstraction #storytelling #worldmaking (en Kunstraum Lakeside) https://www.instagram.com/p/CkY-72rovy9/?igshid=NGJjMDIxMWI=

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FURY @kommetartspace Through Nov 19 Lyon The exhibition FURY is an invitation into a world inhabited with anger, a kind of hell where female beings blow up in your face. Hélène Hulak and Mélissa Mariller take masculine universes such as tuning, tattooing, or even piercings to distort codes and play with stereotyped images. In this exhibition, the figure of fury becomes a hybrid with the “grid girl” of a car show. - Born in 1990, Hélène Hulak lives and works in Lyon. A graduate of the École nationale supérieure des Beaux-arts in Lyon, her work has notably been shown at Magasins Généraux (Pantin), at Metaxu (Toulon), or even at macLyon (Lyon). Invited by Studio Ganek, in April 2021 she participated in a group exhibition À ciel ouvert, installed in the city of Lyon’s billboards and in Spring 2021 was in residency at KOMMET. This same year Hélène Hulak was in residency in Iceland as part of a program organised by “Artiste en résidence” and was invited by macLyon as part of the exhibition “Crossover Hélène Hulak x Mel Ramos”. She is a co-founder of the Cagnard association and works in the Montebello workshops. Born in 1990, Mélissa Mariller lives and works in Lyon. A graduate of the École nationale supérieure des Beaux-arts in Lyon, her work has notably been shown at Dardilly for the group exhibition Paysages Manufacturés, at Poush Manifesto (Clichy) at Attrappe-Couleurs (Lyon) or even at Petite galerie Françoise Besson (Lyon). Selected by art3 (Valence), Mélissa Mariller had the opportunity in 2022 to do a residency at Stuttgart (Germany). She is a co-founder of the Cagnard association and works in the Montebello workshops. #kommet #helenehulak #melissamariller #lyon #installationart (en KOMMET - Lieu d'art contemporain) https://www.instagram.com/p/CkYDpbPoVvv/?igshid=NGJjMDIxMWI=

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INÉS GARCÍA ‘Glissements D’Échelle’ @somos.obrador Bilbao “In the beginning, the Sphere and the Tetrahedron were united in a single unthinkable, unimaginable Form. Compression and Expansion mysteriously united in a single Will that contains itself. There was a separation, but the Unit remained one. The Sphere became the essential human Being, who, wanting to achieve all his desires and possibilities separately, broke down into the totality of the representation of animal and human species. The Tetrahedron was transformed into the primordial Plant, and generated from it all the vegetables. The Animal, deprived of outer space, withdrew, and branched out its lungs and intestines from the inside to receive nutrients, protect itself and perpetuate itself. The Plant, open to the outer space, branched out to penetrate the substrate, roots and foliage. Some of their descendants doubted, and wanted to play both sides: they were the animal-plants that populated the seas. The human Being received a breath, and a light; only he received that light. He wanted to contemplate its light and enjoy under its multiple images. He was expelled by the Oneness energy. Only he was banished. He went to populate the Ex-ternal lands striving, dividing and multiplying by the desire to contemplate his own light and to enjoy. Sometimes a person surrenders from his heart, and submits the visible to the seer, and tries to return to his origin. Seek, find, and return to its origin.” The analogous mount (excerpt), René Daumal #inesgarcia #obrador #biobao #film #installationart #contemporaryart (en Obrador) https://www.instagram.com/p/CkTB8AbIP7q/?igshid=NGJjMDIxMWI=

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JUAN CRESPO ’Simoncelli’ @liquidgold.studios London In 2011 Marco Simoncelli died during the Malaysia Moto GP Grand Prix as a consequence of an accident that involved four other drivers. JG Ballard released his most popular novel Crash in 1976. It rapidly enlarged the list of bestsellers in the science fiction genre. In the book, written after his wife passed away, there are monsters – as in almost every SF story – but this time embodied in psychological and internal fears. It represented a total abstraction of the alien or phantom monster cliché, which is probably what makes the book such a milestone. In 1946 Malaysia broke away from British rule and became an independent territory. Darko Suvin defined science fiction in his essay “Science Fiction Studies” (1970) as an “archaeology of the future”. Sherryl Vint analyses the book in the following terms: “For Survin SF provides a transformative vision of a full social world, and he is suspicious of the limiting attitude of hard interpretation of the subject that demands real possibility versus speculative and open approaches.” In 2019 Monster Beverage sold around 420 million Monster Energy drinks in the US alone. This translated to over 1.1 billion USD in sales...Captain Cook's Journals (1768–79) often included passages where, with literary aspirations, the landscapes of the new territories are pompously described. These descriptions also included anthropological assessments of the native people. It is not uncommon to find wording such as “savages” or “monsters” within his portraits, for instance, in relation to Southern Asian locals. This exhibition is conceived as an accident, embraces the crash, aspires to a certain level of independence, underlines speculation, and avoids pompous landscape descriptions. #juancrespo #installationart #painting #contemporaryart #liquidgoldstudios #london (en Southampton Row, London, UK) https://www.instagram.com/p/Ci8QiC_oI4j/?igshid=NGJjMDIxMWI=