An exhibition by Interfícies with the collaboration of La Capella.

Interfícies is a community culture and health platform that promotes processes connected with the practices of art, education and citizen involvement. Active since 2017 in the Raval and Roquetes neighbourhoods, the initiative is led by Transductores and co-ordinated by a team of teaching staff in Community Psychology at the University of Barcelona, with the support of two local networks and various groups of artists and other creative figures.

Interfícies developed five artistic interventions that combine artistic practices with citizens’ participation, affective, communicative and social aspects associated with the neighbourhoods involved, a series of workshops, events, activities and gatherings. In addition to this exhibition, there will be a final day-long event held on 14 November and an online publication. This exhibition features a range of material from four of the artistic interventions: Roquetes, barri saludable (Roquetes, Healthy Neighbourhood, 2018), by Teleduca; Territoris que curen (Territories that Heal, 2018), by Territoris Oblidats in the Raval; Repertoris variats (Varied Repertoires, 2019), by Lo Relacional in Roquetes; and Estigmes-identitats de barri (Neighbourhood Stigmas and Identities, 2019), by Forn de Teatre Pa’tothom in the Raval. The show also includes a documentation area with materials related to the process and the educational and research work done by the groups of students and teachers who took part, as well as videos on the various interventions and other events. The fifth project, Els remeis de la Trini (Trini’s Remedies), and assorted material from the two projects presented here mounted in Roquetes are being displayed at the same time as this exhibition in the Casal SomLaPera! in Trinitat Nova.

DELIVERY OF THE ART NOU PRIZE 2019
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"INTEGRAL" BY JAUME CLOTET

On September 19 we will celebrate the delivery of the Prize for this Art Nou edition, which, once again, consists of a prize of 2,000 euros awarded by La Capella to the artist with the best work according to the Art Nou Jury. This year's jury consists of: Anna Dot (artist and winner of the last edition) and curators Hiuwai Chu and Alexandra Laudo.

The event will be attended by Oriol Gual (director of La Capella), Àlex Nogueras (president of Art Barcelona-gallery association), and jurors.

Then, we will enjoy Jaume Clotet's proposal:

INTEGRAL
Integral is an exhibitive intervention of everything that Jaume Clotet has never shown in public before: things that embarrasses him, unfinished things, or things without route; intimate things, or stuff that worries him since he was a child.
An incoherent and self-centered retrospective carried out by a 25 years old artist and accompanied by an immersive performance that parodies the act of exposing itself.
A show in which the artist seeks to "teach himself personally", in the double sense of the sentence.

We wait for you!

With the support of La Capella (ICUB) and ICEC (Generalitat de Catalunya).
With the collaboration of Café Schilling

Art Nou is an initiative of Art Barcelona - gallery association, until September 26. ART NOU 2019: www.artnou.net

The publication is a review of the last 25 years of this space dedicated to the emerging art of Barcelona. Edited by Anna Pahissa, it includes texts commissioned for the occasion as well as curatorial texts from various exhibitions and projects that have been developed in this space. It is a book that brings together what La Capella's contribution has been to the emerging and contemporary art of the city of Barcelona in recent years.

On the other hand, the book makes a quite exhaustive review of what has been the exhibition Les escenes. 25 years after the central nucleus of the celebration of the anniversary of the launch of the Capella as a space for the emerging sector of contemporary visual arts in Barcelona.

LA CAPELLA 25 YEARS. BONUS TRACK

PRESENTATION OF PUBLICATION 25 YEARS + PERFORMANCE + DJ

The activities of the 25th anniversary of La Capella are over and we would like you to join us.

On Tuesday July 16 we will present the publication Vint-i-cinc anys of La Capella (Twenty-five years of La Capella). Edited by Anna Pahissa, it does a pretty exhaustive review of what these years have been and picks up the witness of the exhibition Les escenes that has been happening in La Capella since January and it will be closed by a peformance by Y€ssi Persse + La Plebeya + Mar Pons + Georgina Soler: The Accelerationist Opera - Act 1.

As a final, DJ Zonzo (Glove Party / Bcn) putting the party with a special session of disco music playing only with vinyl.

We wait for you!

Free admission

# lacapella25anysBONUSTRACK
# lacapella25anys

Collaborators:
Café Schilling
Hangar

An εξέδρα (exedra) is a semi-circular stone bench situated at the back of the apse in Christian chapels, an architectural feature that facilitates contact and conversation between various interlocutors. This idea of a place of encounter, reflection and dialogue in the space of a chapel is the perfect metaphor for what the artist and educationalist Jordi Ferreiro seeks to achieve with his mediation project for Barcelona Producció 2019: to turn this space into a nexus with residents in the Raval through projects that can forge deep and lasting connections. The La Capella building, part of the former Hospital de la Santa Creu, served as this force for integration and social mediation back in the past. The hospital was a pioneering complex in Europe, since it combined the six hospitals in the area to provide an effective, modern and extremely necessary service to the city of Barcelona, and its chapel was the place where social interaction and mutual support took place between the various users and residents of the city. Exedra approaches art as a tool of subjective thinking that diverges from and is critical of logical or doctrinaire thinking, and for this reason it is crucial for empowering the citizens of Barcelona. Exedra proposes to work on each exhibition with artists and agents of La Capella as equals, since art and mediation are regarded as a space for learning together.

Nada te turbe. Todo se pasa (Let nothing disturb you. All things are passing). Martin Llavaneras conceives the architecture of La Capella as a sculpture made of small lumps of sand. This resonance, the tide consuming a castle, is the anchor of Turba Turbo, a project which explores the circulation of sand as disfigured, latent and potentially gothic matter.

Link:

www.martinllavaneras.com

With the support of:

Nieves Correa is an unbeliever and hence she regards memory as the only thing that endures, and it is in her artistic practice that recollections are ‘embodied’ to transform the body into a vehicle for memory. As a result, performance is not a mental but a physical act in which the body embarks on a process and submits to engaging in effort and a task: the tension of fulfilling this task and remembering through the body. The performance moves from aesthetics to ethics as an ‘act of history’ and reparations for the past. The aerial bombardments of Barcelona on 16, 17 and 18 of March 1938 by the Italian Legionary Air Force from its bases on Mallorca were perhaps the worst in the city’s history, causing between 880 and 1,300 deaths and between 1,500 and 2,000 wounded among the civilian population. The official figures issued by the Generalitat de Catalunya on 26 March indicate 875 people were killed (of whom 118 were children), but on the following days another 49 were recorded, giving a total of 924 fatalities. […] This is believed to be one of the first saturation bombings ever and the second after Guernica in terms of the number of deaths caused in just one of the raids during the Spanish Civil War.

This project seeks to explore the interferences between reality and fiction in the collective construction of the imaginary of revolution, while inviting us to reflect on the use of a series of symbols, gestures or emblems that originated in the popular culture of fiction (particularly in film and literature) and which have been adopted by contemporary social movements as the insignias of their struggles. In addition, it aims to serve as a space for speculating on narrative devices (the roles of the characters and their relationship with power, gestures, discourse, pattern of repetition, etc.) employed by mass-media productions when attempting to represent the ‘nature of revolution’, while at the same time drawing attention to the ways in which consumer goods commodify and trivialise – by means of strategies such as merchandising – that initial recognition of the potential of the symbolic. Consequently, this work creates the conditions for talking about the relationships between reality and fiction in depictions of revolution. In addition, it imagines the virtues and problems of using this type of reference in the advance towards real change.

Sobre la revolució (On revolution) is a project by Laura Torres in collaboration with Sergi Àlvarez Riosalido and Guillem Pérez Sánchez.

In 1800, Friedrich Hölderlin wrote the line “and only then will words of praise arise, like flowers”. Almost 200 years later, Jennifer contemplates a Bora Bora landscape without qualms. Both are a particular – and extreme – alternative vis-à-vis the relationship between humankind and the world. Whereas Hölderlin wants language to relinquish its status as a medium to become nature, Jennifer is so immersed in the image before her that she unconsciously becomes a part of it. Ara les imatges brollaran com flors o Jennifer in paradise is a live action that presents a rethink of the hackneyed and limited experience of contemplating a landscape. Sunset is seen as one of the most symbolised natural phenomena in Western culture, which has been charged with the task over the years of determining its effects on those observing it. Between Hölderlin’s disquiet and Jennifer’s immersion, Cicuta’s political gesture is to ponder on the question of whether it is still possible today to have experiences that exceed their public ownership.

Until very recently, the Barcelona plain was criss-crossed by numerous watercourses that drained the flatland from the Collserola chain of mountains down to the sea or the Besòs River. Gullies, torrents and streams were a powerful presence that shaped the relief of the landscape and determined various uses of the territory. The transformation of the city over the course of the 20th century channelled and sealed over their visible presence, leaving just traces in the nomenclature, with the names of gullies and streams surviving in every neighbourhood. Serps d’aigua seeks to reread the city of Barcelona according to a system of relationships in which the pre-existing natural conditions allied with the circulation of water become activators of levels of meaning, of the cultural and social construction of that which arises on a seemingly neutral and unvarying surface. Particular places that generate sites with a logic of meaning that goes beyond that which can be glimpsed in them, as if fulfilling a condition that cannot be circumvented, activating a presence necessitated by prior causes and which we can easily recognise. Such locations have been designated by major junctions, by squares where citizens gather in large numbers, by urban landmarks that indicate them. But also because important elements, notable institutions, nuclei with the unquestionable ability to draw people to them are situated in them.

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