For Galleries show 3 we present a group show with Joana Escoval, Anna Irina Rusell, Bernat Daviu and Enric Farrés Duran.

A selection of works that emphasize the changing and the mutable, in slight gestures, at the limit of the visible; apparently inconsequential elements, imperceptible or foreign to the work but that are imposed precisely by their lightness and define the works of these artists. It is a tribute to the performativity of the works, to their capacity and sensitivity to generate discourse without making much noise.

Anna Irina Russell’s (Barcelona 1993) artistic practice uses sculpture and installation as a base to speculate about non-hegemonic communication processes. Her methodology dialogues with tensions generated between bodies, spaces and the objects or materials that she works with, working in a grey zone where the ambiguous, hypnotic, sensual and odd take rein. Systems of transmission, manipulation and material distortion are all fundamental to her work. She often incorporate playful and ludic approaches as a tool for research in order to point out and subvert certain preestablished semiotical and communication structures that usually go unnoticed.

Enric Farrés Duran (Barcelona 1983) is a story teller, someone who continually blurs the line between the real and the fictional. His work is articulated through researches, coincidences and fortuitous encounters and the possibility of making connections between different places, objects and circumstances. Farrés Duran creates narratives that reveal hidden and unexpected relationships, which in some cases involve different times and places. The story — narrated and written — plays an essential role in this process, and the information it provides is essential to our engaging with the process and the connections it establishes. His projects are formalized in installations, guided tours, books and videos.

Bernat Daviu (Fonteta, 1985) “Central to my practice is the making of images with discordant layers of meaning that often address the issue of integrating life and art. Painting is present in many of my projects, alongside video, costume-de-sign or performance, disciplines that allow me to generate situations in the physical and collective space. I am interested in the shift of significance caused by time and context, allowing new imaginaries to emerge. References to Modern art are recurrent in my work. These are entangled with my own personal life and other anonymous stories in order to question established forms and ideas. Irony is present in many of these juxtapositions, particularly referring to the commercial and the critical values of art. The activation of the work is a very important part of my projects and it is for this reason that I often collaborate with filmmakers, musicians, dancers or the audience itself to enhance these situations.”

Joana Escoval’s (1982, Lisbon) entire oeuvre is permeated by a meticulous exploration of the impermanence, interconnections, and synergies that take shape in a body of work reduced to essential components. Transient and finely balanced, her sculptures invite us to walk along the edges of human consciousness, enabling a perception of our environment that is more sensed and experienced than looked at. Her sculptures of earthenware and metal and her installations with moss, feathers, stones, seashells and tropical leaves blur the boundary between culture and nature. Inspired by nature’s motifs, alchemy and cultures such as that of the American Navajo, her creations refer to ritual implements and transitional places. They have the momentum of conductors or a current of energy that interweave form and content, living and dead matter, the concrete and the spiritual, the visible and the invisible. In Escoval’s world nothing is decreed, everything is entwined and connected.