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Pick of the day: Esther Ferrer (àngels barcelona)

Esther Ferrer, Performance "Agua y Aire", Centre Georges Pompidou, 1985 // Serie "proyectos especiales

Esther Ferrer, Performance “Agua y Aire”, Centre Georges Pompidou, 1985 // Serie “proyectos especiales”

Dos piezas de Esther Ferrer en el stand de àngels barcelona. Fotografías de una performance y una serie de trabajos que se acercan a una idea de plano arquitectónico. La documentación de la acción, arriba, activa la serie situada en la parte inferior, cargando de performatividad y gesto el espacio.

Luiza Teixeira de Freitas is, with Manuel Segade, the curator of the #Opening programme at ARCOmadrid, which is dedicated to young galleries. Together with her father they direct the Teixeira de Freitas Collection that has developed a specific part in artists books, editions and ephemera in parallel to its main works. 

Collecting pages. Interview with Luiza Teixeira de Freitas

Art & Project Bulletins Box © 20th Century Art Archives, Cambridge, UK

Art & Project Bulletins Box © 20th Century Art Archives, Cambridge, UK

Rosa Lleó: For this interview, I would like to focus specifically on your interest and relation with artist books and editions, so perhaps we can start from the beginning. What was your inspiration and stimulation, and what were your firsts acquisitions for the collection?

Luiza Teixeira de Freitas: I have been working with my father’s collection for nearly 12 years now. He has built a contemporary art collection that for a decade was curated by Adriano Pedrosa and dealt with artworks that directly or indirectly referred to architecture, construction and de-construction. Three years ago the collection shifted to a new focus in books, literature, words and linguistics. The shift was very organic but it had its starting point in the creation of a new collection —independent from the one I just referred— of artist books. It started mainly through a slight nostalgia of what was done in the end of the 60s and the beginning of the 70s in Conceptual Art, where the concept was at the centre stage of creation. It meant taking a step back from the frenzy of the art world of nowadays, slowing down and understanding a different way of looking at art.

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Delivery mechanisms. Interview with Paul Sullivan

Paul Sullivan is an architect, artist, curator and director of Static Gallery based in Liverpool. Over a couple of weeks we bounced some emails back and forth discussing some of the concerns of his practice and its relationship to a number of ongoing concerns on architecture, autonomy and the art fair.

StaticBenjamin Fallon: Maybe we could start with you introducing your practice and its relationship with Static, the organisation which you are director of? I am specifically interested in your background as an architect and how this comes into play in your activities?

Paul Sullivan: My practice as an artist/architect is interwoven with my role as Director of Static Gallery.

The Static Gallery building at 9-23 Roscoe Lane, Liverpool is essentially a large-scale 6000 square foot prototype to experiment with. Together with Becky Shaw (co-director of Static 1999-2005) and John Byrne (co-director of Static 2005 – present), we have used the building to examine issues such as public/private space, trade, colonization, conflict resolution, surveillance and financial autonomy.

The fact that Static Gallery is also seen as an institution externally has also allowed Static to embed itself within and therefore to scrutinize at close quarters the structures and mechanisms of contemporary cultural production and dissemination.

Static has always developed and tested projects out in Liverpool but has also increasingly developed projects internationally or been approached and commissioned to carry out projects outside of Liverpool. Therefore Static acts as both commissioner and commissioned.

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