An exhibition by the Adrastus Collection in the historic church of San Martín in Arévalo
Carol Bove, W.A., 2010, shells, steel, concrete and bronze, Colección Charpenel Guadalajara; Engel Leonardo, Pisos, 2022, hydraulic tiles, collaboration Galería FORMATOCOMODO; Vicente de Mello, Limite Oblíquo, 2020, fine art prints, performed digitally with Canon Lucia Pro pigment ink on 315 gr. Hahnemühle Photo Rag® Baryta paper. Courtesy of the artist
SUBSTANCES is an exhibition conceptualized to be installed in the historic Church of San Martín, within the royal municipality of Arévalo. With this first art presentation, OPEN FOR WORKS opens a set of exhibitions that will activate the first cycle of Collegium – a cultural program that starts before the construction of its building.
This Adrastus Collection exhibition, curated by the Mexican Patrick Charpenel, emerges from a critical reading of the traditional principles of BAROQUE. Starting from a reflection on traditional symbolic logic and its various cultural consequences, the exhibition addresses the relationship between “entities” of a composite nature, complexly connecting apparently dissimilar elements. Can something be what it is not? Can there be a relationship between things of a foreign nature? Is there a connection between the sacred and the profane?
These questions explore in a renewed way the meaning and significance of BAROQUE within the framework of 19th, 20th, and 21st-century cultural production. In this project, Los Caprichos by Francisco de Goya will be exhibited with the work of twenty-five contemporary artists. The exhibition displays the 80 etchings that constitute Francisco de Goya’s series Los Caprichos (1799) side by side with the works of contemporary artists from 17 different countries, including Francisco José de Goya y Lucientes, David Hammons, Nina Chanel Abney, Leonor Antunes, Felipe Arturo, Kasper Bosmans, Carol Bove, Maurizio Cattelan, Moyra Davey, Berlinde de Bruyckere, Jos de Gruyter & Harald Thys, Jorge Eduardo Eielson, Peter Fischli, Mathias Goeritz, Iman Issa, Hayv Kahraman, Engel Leonardo, Vicente de Mello, Teresa Margolles, Jordan Nassar, Mariela Scafati, James Siena, Tavares Strachan, Wilfredo Prieto, Douglas Gordon.
Taking off on such a distinguished note, the Open for Works series offers a look at contemporary art and local history, reviving and reworking the global Jesuit spirit, not from a religious perspective but grounded in education and culture as a basis for building a future where different voices and views may be heard and interact.
Berlinde De Bruyckere, Walburga 16, November ’18, 2019, textile, wax, wood, iron, epoxy, polyurethane, 92 x 315 x 140 cm. Courtesy of Galleria Continua
Mathias Goeritz, Mensaje, c. 1960, gold sheet on wood relief, 132.1 x 106.7 cm, Colección Isabel y Agustín Coppel; Leonor Antunes, A secluded and pleasant land. In this land I wish to dwell, 2014, leather, variable dimensions. Courtesy of Collegium / Adrastus Collection; Francisco de Goya y Lucientes, Caprichos, 1799, 80 aquatint etched prints with resin gouache, dark ochre ink, paper dimensions 29.6 x 22 cm. Courtesy Collegium.
Jorge Eduardo Eielson, Nodo, 1973, knotted wool, burlap and felt, 20 x 41 x 33 cm, Colección Charpenel Guadalajara; Iman Issa, Dialogue (Study for 2019), 2019, steel and white-painted shelves 25 x 65 x 142 cm. Courtesy of the artist and carlier|gebauer, Berlin/Madrid; James Siena, Sequence One, 2009 - 2010, woodcut on paper, 36 prints 48.26 x 43.18 x 5 cm each. Courtesy of the artist and Pace Gallery
Leonor Antunes, A secluded and pleasant land. In this land I wish to dwell, 2014, leather, variable dimensions. Courtesy of Collegium / Adrastus Collection; Francisco de Goya y Lucientes, Caprichos, 1799, 80 aquatint etched prints with resin gouache, dark ochre ink, paper dimensions 29.6 x 22 cm. Courtesy Collegium.
David Hammons, Untitled (B-ball Drawing), 2004, Charcoal on paper, gray suitcase, framed painting: 304.8 x 121.9 x 5 cm; suitcase: 54 x 37 x 16 cm. Courtesy of Pinault Collection. Peter Fischli, Relief (Monkey), 2021. Polyurethane foam, 105 x 70 x 25 cm. Courtesy of Studio Peter Fischli. Jordan Nassar, Wadi Nar, 2020, hand-flamed glass beads, steel and wire. Courtesy of the artist, James Cohan Gallery, New York, Anat Ebgi, Los Angeles and The Third Line, Dubai.
Peter Fischli, Relief (Monkey), 2021. Polyurethane foam, 105 x 70 x 25 cm. Courtesy of Studio Peter Fischli. Jordan Nassar, Wadi Nar, 2020, hand-flamed glass beads, steel and wire. Courtesy of the artist, James Cohan Gallery, New York, Anat Ebgi, Los Angeles and The Third Line, Dubai
Jos de Gruyter & Harald Thys, Die Schmutzigen Puppen von Pommern, 2018, sackcloth, straw, fake hair, 175 x 52 x 15 cm. Courtesy of the artists and Micheline Szwajcer Gallery; Francisco de Goya y Lucientes, Caprichos, 1799, 80 aquatint etched prints with resin gouache, dark ochre ink, paper dimensions 29.6 x 22 cm. Courtesy Collegium.
Carol Bove, Untitled, 2012, Peacock feathers on linen, 245.11 x 123.2 x 12.7 cm. Courtesy Collegium / Adrastus Collection; Hayv Kahraman Identification: Facial Hair, oil on linen, 63,5 x 218.4 x 7.6 cm, Courtesy The Third Line; Hayv Kahraman, Indentification: Hair Color, oil on linen, 63,5 x 218.4 x 7.6 cm, Courtesy George Salamoun. Engel Leonardo, Pisos, 2022, hydraulic tiles, collaboration Galería FORMATOCOMODO.
Hayv Kahraman Identification: Facial Hair, oil on linen, 63,5 x 218.4 x 7.6 cm, Courtesy The Third Line; Hayv Kahraman, Identification: Hair Color, oil on linen, 63,5 x 218.4 x 7.6 cm, Courtesy George Salamoun; Engel Leonardo, Pisos, 2022, hydraulic tiles, collaboration Galería FORMATOCOMODO. Vicente de Mello, Limite Oblíquo, 2020, fine art prints, performed digitally with Canon Lucia Pro pigment ink on 315 gr. Hahnemühle Photo Rag® Baryta paper. Courtesy of the artist. Moyra Davey, Copperheads No. 301-400, Jimmy H. Portkus, 2017, 100 c-prints on fuji crystal paper, ribbon, postage, ink, 45.7 x 30.5 (each). Courtesy of the artist and Galerie Buchholz.
Exhibition view. Image: Victoria Muñoz Gomez-Trenor. Cortesia Collegium.
Installation view. Image: Victoria Muñoz Gomez-Trenor. Cortesia Collegium.
Tavares Strachan, Distant Relatives (Shirley Chisholm), 2020, Kuba elephant mask (Democratic Republic of the Congo), pigment, natural fibers, cowrie shells, leather, beads, plaster, brass, acrylic. Courtesy of the artist and Marian Goodman Gallery; Nina Chanel Abney, Temporary Friends, 2019, set of five relief prints, 99.7 x 74.9 cm each. Courtesy of the artist and Pace Prints
Kasper Bosmans, Amber Room and Star Chamber, 2014, Sand Paintings, Courtesy of Kasper Bosmans Studio; Berlinde De Bruyckere, Walburga 16, November ’18, 2019, textile, wax, wood, iron, epoxy, polyurethane, 92 x 315 x 140 cm. Courtesy of Galleria Continua
Tavares Strachan, Distant Relatives (Shirley Chisholm), 2020, Kuba Elephant Mask (Democratic Republic of the Congo), pigment, natural fibers, cowrie shells, leather, beads, plaster, brass, acrylic, 218.4 x 129.5 x 50.8 cm, Courtesy of the artist and Marian Goodman Gallery. Kasper Bosmans, Amber Room and Star Chamber, 2014, Sand Paintings, Courtesy of Kasper Bosmans Studio.
Engel Leonardo, Pisos, 2022, hydraulic tiles, collaboration Galería FORMATOCOMODO; Vicente de Mello, Limite Oblíquo, 2020, fine art prints, performed digitally with Canon Lucia Pro pigment ink on 315 gr. Hahnemühle Photo Rag® Baryta paper. Courtesy of the artist; Francisco de Goya y Lucientes, Caprichos, 1799, 80 aquatint etched prints with resin gouache, dark ochre ink, paper dimensions 29.6 x 22 cm. Courtesy Collegium.
