HOMESESSION Art Space & Residencies

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Sabrina Harri in art-action, MNCARS - Reina Sofia Museum, 14-04

The MNCARS-Reina Sofia Museum hosts the art-action's "rencontres internationales Paris-Berlin-Madrid" around new cinema and contemporary art with the screening of many film premieres, a video program, a media art exhibition, multimedia concerts, a cycle of debates and panel discussions. A selection of 150 works from Germany, France, Spain and 50 other countries, made up of internationally-known artists and filmmakers as well as young artists and filmmakers presented for the first time has been realized around 5500 submissions.

Sabrina Harri, the artist currently in residence at homesession, forms part of the selection: her work "Discussion Room 005" will be shown in the salón de acta Sabatini on april 14th at 3.30pm in a section called "Capitalismus".

In a state of claustrophobia, I jump against lightboxes with advertisements representing bodies in an urban landscape. It is an attempt to push away the representations, to broaden the space that surrounds me or to pass through.

Where: MNCARS-Reina Sofia Museum, Salon de Actos Sabatini, Santa Isabel Street , 52 - Madrid
When: april 14th at 3.30 pm

"Artist in residencies around the world" Someone's garden's new book!

someonesgarden cover The BOOK is out now! "Artist in residencies around the world" Japanese publisher dedicated 8 pages to homesession and artists Delphine Pouillé, Miguel Bonneville and Patrick Bérubé.

homesession invites: Juan Duque 's project presentation, 06/03 - 7pm

Juan Duque and homesession will have the pleasure to present the intervention the artists's been working on during his residency: EVASION.

Juan Duque

Displaying objects and elements linked to a landscape iconic visual representation as well as to maps ideological representations, Juan Duque's intervention at homesession deals with the conception of landscape as an interface between place, individual memory and chance.

The intervention in different spaces and places conveys for me a re-activation of the memory.
As a recurrent mark, every time I start a project, textures and images appear from the surfaces I'm working on. These recurrent marks remind me of landscapes that I have already experienced. Is it a topographical fixation or perhaps a predestination?
What we think will last forever, might stop some day... and new lines, reflections and layers will emerge, blurring the path. With my work at 'homesession art residency', I want to challenge the determined by implementing simple actions on simple materials.
Juan Duque

We're very pleased to invite you to join the presentation of EVASION on March 6th at 7pm.

When: March 6th at 7pm
Where: homesession

For further information and for confirmation (required), please contact

"Invited-One-Day" and residencies first quarter 2010

We're glad to announce the events to come during the first quarter 2010 at homesession.

February 4th: save the date!
This new programme is an experience led by an artist, who's litterally "invited one day" in a private flat. "Contextualize!" (or not). Carte blanche to Fito Conesa whose work will be presented on February 4th at 8pm. More information to come...

RESIDENCY JUAN DUQUE! (Colombia-Belgium)
Feburary 08th-March 10th
Presentation date still to confirm.

April 1st-30th
Presentation date still to confirm.

You shouldn't explain that! A conversation with Daniel Nevers

This is the transcription of a conversation we had with Daniel Nevers after the presentation of his work at homesession, on June 27th. Talking about the "minutiae" installation Daniel Nevers realized at homesession, it introduces the main outlines of Daniel Nevers' process and creations. .

Homesession: this work is going to be dismantled, but we would like to keep it a while...
Daniel Nevers: That's funny, because, for me, it's done, so it could be dismantled now.

HS: Of course, because you were in the process, during one month.
DN: Actually that was very interesting, working in your house, you know. It's like when I made this residency in Southern Exposure in San Francisco, they were going to work everyday and they had to cross my installation, thoses bunches of cable, I was feeling so bad for them. They had to put their bikes there, I was so sorry... And I feel a bit the same way about this, just because it's not the prettiest thing to live with, I guess. I don't think it's ugly, but that doesn't mean everyone would like to live with it... So it's interesting that you want to keep it a while, it's an interesting part of the whole experience. I make it and then I leave... because it definitely changes the whole space!... Actually, at the beginning, I was wondering what I was going to do, you know, I wanted to work with papers and so on, and a friend answered to one of my mails, just saying "well you could put the furnitures outside and say that's your project, leave it out so that they can't move it anymore..." (laughs)... I didn't do that, but finally we had to move all the furnitures. We even put some of them outside for the opening so...

HS: You said this work may constitute a new step in your creations.
DN: I have to figure out a new way to talk about my work, because I think it's not the same anymore. It's changing. I think I have to talk about it in a much more formal way and not that much about the meaning of it.

HS: But wouldn't you have to mix both approaches?
DN: No, I don't think so. For example Jessica Stockholder, who is one of my big influences... She's very interesting, she mixes a lot of very ugly works (laughs), not ugly but well she works with furnitures, products from a lot of stores, Ikea or other places, christmas trees' decorations, it's very interesting. She's also a painter... She only talks about her work formally. She's been around for twenty or twenty-five years and I keep reading about her work. Her work is also about psychological stuff: she said enough for us to know that, but...

HS: ... but she doesn't really explain it...
DN:... No... Her tales gives a little bit of information about it, so you can tell from materials, that there are some personal references, she tells about her father and so on...

HS: Well there's more than a psychological and personal meaning in your work, you're also referring to massive consumption...
DN: The opening was very interesting tonight because people, more than any other time, were saying "oh it's like recycling, but it's all new" or "oh it's like the materials they bring back to the beach in the nets, but it's brand new", and it's really interesting that people get it at first sight.

HS: Maybe because recycling with second-hand materials is very common in Barcelona, it's an industry, everywhere, and in the art world too...
DN: I was happy that people were paying attention to that. People were trying to understand, you know... "What is this about?"... That's always a question but it's not really interesting to me. I always ask people "well, what do you think it means?" and they hate to answer because they don't want to look stupid. But I would like to tell them that they can't look stupid, I don't care about their opinion... Whatever they think it means... They can't be wrong about their own opinion! But they want to know what I think it means, my own interpretation about my work.

HS: And you wouldn't say it?
DN: Of course I would, but it's not interesting to me. When I am in a gallery, I don't care so much about the artist's interpretation. Well of course, sometimes you have to read to know what the artist is talking about, but if I think it's about something and they tell me it's about something else, I will think well... that's stupid (laugh).

HS: Some people said that this installation works like a painting, you can sit on the coach and you have this perfect frontal view of the painting, this very nice composition, but when they saw the other side, they really saw the connection between this installation and your other works... And also, they were confronted to this frustration, you know, not to be able to see the other composition on the backside, not to be able to enjoy another nice point of view, to see what's happening...
DN: Yes, it makes perfect sense to me, the presentation to the outside world. The composition is very nice, it all looks very perfect. But when you go to the other side, you cant get close to it or you get so close to, that you can't see it. And then it's very much about personality, identity and...

HS: ... Oh! you shouldn't explain that! (laughs)
DN: Well, it's very clear to me that it's all there, even though I'm not consciously intending to make that. Actually, I was not thinking about it when I was working on the piece, but it became very obvious to me once it was finished: it's about all those things, the backside is the piece and the frontside is just a mask. You know, I think of the Franz Fanon's "Black Skin, White Mask". That's what it is. Of course, it seems very obvious to me, because I know my work. But I would understand it's not obvious to other people.

HS: You're not so used to develop a work that's almost flat...
DN: I think that what it is very exciting about this work, about the presentation, the concept of presentation. And also the idea of pattern is very interesting to me, because pattern has this double meaning, these visual and psychological meanings. How we follow into patterns or how we use patterns of behaviours. And there are those containers, the idea of containing emotions, it's all very litteral, almost. It's nearly too obvious to me! That's why it's very fun to me, because we could ask people to formally think about the idea of containers, colors, light and dark, panel, front and back, the connection between all those formal things. That's why I try to talk about it more formally, so people can make this connection more spontaneaously.

Next residences: Daniel Nevers (June) and Beatrix Reinhardt (July-August)

We're preparing new residencies for homesession with two artists coming soon to Barcelona, both of them with very exciting work and projects.

Daniel Nevers (USA-Oakland) will be the artist in residence at homesession in June.
Daniel has developped a work based on sculptures and installations made with Do-It-Yourself (DIY) materials, trying to establish links between Home Depot and... O, the Oprah Magazine: because irony is a serious tool to understand our psychology, his works are representations and constructions that try to materialize our personality, as it would be described by Pop Psychology. Strong materials get tortured and compressed, representations are completed till they reach the chaos, concrete walls finally reveal their precarious construction: each installation is a new story about the mysterious interdependance between our conscience and the others: defenses, necessity, projection, prohibitions, porosity and impossibilities.

Beatrix Reinhard's residence is planned for July and August.
Beatrix Reinardt (Germany-Berlin/USA-New York) is a photographer whose work focuses on the politics of spaces: most of her photographs are empty spaces filled with traces, signs, evidences that build a speech with social implications, despite of the absence of living beings. Actually, through this absence, Beatrix has found a very striking way to express what the organization of spaces can tell about the interactions that usually exist in those places. Those social landscapes introduce a possibility to build real and imaginative narratives, establishing a relation between the viewer and a space he usually doesn't even know. By taking pictures of empty spaces, Beatrix focus on cultural values, social realities, tastes and beliefs: those photographs can actually be conceived as intimate portraits of the individual/s who is/are absent at the moment of the photography.

Patrick Bérubé, residency at Hangar Barcelona

Patrick Bérubé is currently in residency at HANGAR Barcelona. HANGAR is an artistic creation centre located in the Poble Nou district of Barcelona. HANGAR is, above all, a production centre that offers work space in the visual arts, video and multimedia, access to specialized equipment, and technical support.

Patrick Bérubé was the homesession first resident: his residency's webpage.

Miguel Bonneville as Black Bambi at Lisboa Museum of Natural History, january 14th

Miguel Bonneville will convert himself into Black Bambi for the opening of the exhibition Estruturas, which features works by Miguelangelo Veiga and Paula Prates, at the Lisboa University's National Museum of Natural History.

Black Bambi is the performer Miguel Bonneville's musical project. On that occasion, he will present a live showcase. Miguel Bonneville was the homesession 5th resident: Miguel's residency page.

When: January 14th. Opening at 20h, Black Bambi's live at 22h.
Where: Sala do Veado- Natural History Museum, Escola Politécnica Street, 58 (Lisbon)

Sebastian Christoffel, new artist on homesession

Sebastian Christoffel, who was the 6th homesession resident, presents his work on homesession. You can find on his page some pics and an extract of his video work as well as a text from dutch art curator Margriet Kruyver.