08-11 NOV GRAND PALAIS

PARIS

HANNAH COLLINS I CHEMA MADOZ I CAIO REISEWITZ

BOOTH D17

Joan Prats gallery will be present for the second year at Paris Photo. We will present works by Hannah Collins, Chema Madoz, Caio Reisewitz.

HANNAH COLLINS Brancusi 1, 2010, Pigment printed on canvas, ed. of 3, 137 x 193 cm

HANNAH COLLINS Brancusi 2, 2010, Pigment printed on canvas, ed. of 3, 137 x 193 cm

HANNAH COLLINS Brancusi 3, 2010, Pigment printed on canvas, ed. of 3, 137 x 193 cm

HANNAH COLLINS Untitled (Manos negras/Black Hands), 1998-1999 B/W photograph 91 x 122 cm

HANNAH COLLINS London, 1956 Lives and works in London and Almeria Hannah Collins is one of the pioneer artists in the use of the large format in the photographic discipline. She became known in the international scene during the early nineties. If on the one hand the size of her works were monumental, on the other the portrayed theme was often of intimate nature and close to the spectator, incorporating a reflection around the fleetingness of present time and its survival through the memory of the places. Regarding the use of video and the installations of multiple screens that she has introduced during the last years, Collins persists and extends her interest for those places and peoples that inhabit the limits, the margins of society. In this sense the migration movements or the gipsy communities have been some of the explored subjects in her works. Here, the resulting image is located between the documentary and the precise actor performance. Brancusi’s series reflects the artist’s interest in Modernism and its journey through the 20th Century. In Hannah Collins’s words: Other people's studios have always interested me. Brancusi’s studio was given to Paris with the condition that the internal relationships remained the same as they had been in his lifetime - the solution of moving the whole studio to a new location and for Renzo Piano to create a new space has created a curious juxtaposition which I find both moving and disorienting at the same time. Brancusi's journey to Paris, his own images of his work and his objects and unfinished works are all placed as if he had just momentarily left the space and yet the context is the architecture of an architect whose trajectory contains many buildings still now in production. SELECTION OF LAST EXHIBITIONS 2018 Shared Histories, Shared Stories, Fotomuseum, Winterthur / The other is me, Koldo Mitxelena Kulturunea, Donostia- San Sebastián 2017 Remonter le temps, FRAC Bretagne, Rennes, France 2016 Hannah Collins, EPCC Ecole Superieure des Beaux-Arts, Le Mans 2015 Hannah Collins, Camden Art Centre, London; BALTIC Centre for Contemporary Art, Gateshead / SPECTRUM International Prize for Photography of the Foundation of Lower Saxony, Sprengel Museum Hannover 2014 Resonance (s), Maison Particulière, Brussels 2013 Religion & Riten, Art Foyer der DZ Bank Kunstsammlung, Frankfurt / A Cop d’Ull, La Virreina, Barcelona / Stadt in Sicht, Museum Ostwall, Dortmund / Invitation à l’imaginaire, Imagerie, Lannion, France 2012 The Fragile Feast, Deutsche Bank 60 Wall Gallery, New York; Fundación Valentín de Madariaga, Seville / Begin Anywhere (John Cage), Galeria Joan Prats, Barcelona / Le Grand Atelier, MAC’s Musée des Arts Contemporains – Site du Grand-Hornu / Singulier(s)/Pluriel, LaM, Lille / Midnight Party, Walker Art Center, Minneapolis 2011 Songs of the swamp, WUK Kunsthalle Exhergasse, Vienna / L’art del menjar, La Pedrera, Barcelona / La Memoria del "Otro" en la Era de lo Global, Centro Wifredo Lam, La Habana / 54th International Art Exhibition – La Biennale di Venezia 2010 Historia en Curso, Películas y Fotografías, Fundación La Caixa, Madrid / La Revelación del Tiempo/Time will Reveal it all, Museo de Arte Universidad Nacional de Colombia, Bogotá / Le Meilleur des Mondes, MUDAM, Luxembourg / La Memoria del “Otro" en la Era de lo Global, Museo Nacional de Bellas Artes de Santiago, Chile 2009 Solitude et Compagnie, Centre Pompidou, Paris / La Memoria del "Otro" en la Era de lo Global, Museo de Arte de la Universidad Nacional de Colombia, Bogotá 2008 Solitude and Company, Panorama 9-10, Le Fresnoy, Tourcoing, France / Parallel, La Laboral, Gijón / Historia en curso, Artium, Vitoria / Time Present, Time Past, Istanbul Modern / Body Pleasure/Body Pain, Fotomuseum, Winterthur 2007 Historia en curso. Films y fotografías, Fundació La Caixa, Barcelona / Les Temps Modernes, Domaine de Kerguénnec – Centre d’Art Contemporain, Bignan, France / Barcelone 1947-2007, Fondation Maeght de Saint Paul de Vence, France 2006 A Future Life, Galeria Joan Prats, Barcelona / Bienal de Sevilla (BIACS 2) / Peintres de la Vie Moderne. Modern-life Painters, Centre Pompidou, Paris

CHEMA MADOZ Untitled, 2008, B/W photograph, ed. of 7, 125 x 125 cm

CHEMA MADOZ Untitled, 2008, B/W photograph, ed. of 7, 162 x 125 cm

CHEMA MADOZ Untitled, 2011, B/W photograph, ed. of 15, 60 x 50 cm Untitled, 2009, B/W photograph, ed. of 15, 60 x 50 cm

CHEMA MADOZ Untitled, 2012, B/W photograph, ed. of 15, 60 x 50 cm Untitled, 2014, B/W photograph, ed. of 15, 50 x 60 cm

CHEMA MADOZ Untitled, 2014, B/W photograph, ed. of 15, 50 x 60 cm Untitled, 2012, B/W photograph, ed. of 15, 50 x 60 cm

CHEMA MADOZ Madrid, 1958 Lives and works in Madrid Chema Madoz’s work, close to visual poetry, shows a constant inclination towards symbolism, using images that are characterized by a subtle play of paradoxes and metaphors. With regards to the ‘Still Life’ conventions, his photographs show objects that contain “life” and discover a new dimension of meaning through contextualization, relocation or juxtaposition of common and everyday appearances. In this manner, Chema Madoz shapes an imaginary that challenges our credulity in the picture, and in the existence of an intangible reality. Photography proves to be a decisive tool for Chema Madoz, one that cuts and demarcates the poetic (also the narrative) in a single and definitive flash or explosion, which always appears as a provisional possibility. Photography entails a construction in which the manipulated object becomes an ephemeral sculpture, a transformation produced by the change of scale and by means of a photographic transience that permits its visuality. Photography also intervenes by establishing a distance, introducing a certain distortion of reality. SELECTION OF LAST EXHIBITIONS 2018 Chema Madoz, Palais Idéal du Facteur Cheval, Hauterives, France / Ars combinatoria, La Lonja, Zaragoza 2017 Chema Madoz. El viajero inmóvil, Centro Conde Duque, Madrid / Photomanipulations, Erarta Museum of Contemporary Art, Saint Petersburg / Ocurrencias y regalos (para la vista), Fototeca Latinoamericana, Buenos Aires / Ars Combinatoria, Tabakalera, San Sebastián 2016 Détournement poétique, Pavillon de Vendôme, Aix-en-Provence / Poemes Visuals, CaixaForum, Girona / Chema Madoz XXI, Fundación CajaCanarias, Tenerife 2015 Las reglas del juego, Centro de Arte Tomás y Valiente, Fuenlabrada / Ars Combinatoria, Museo Esteban Vicente, Segovia / Chema Madoz, Centro Andaluz de la fotografía, Almería 2014 Angle de réflexion, Magasin Electrique, Parc des Ateliers, Rencontres d’Arles / Livres, Sciences Po - la bibliothèque, Paris 2013 Ars combinatoria, Fundació Catalunya-La Pedrera, Barcelona / Galeria Joan Prats, Barcelona / Chema Madoz 2000 - 2005, Fundació Pilar i Joan Miró, Palma de Mallorca 2012 Making History, Museum für Moderne Kunst, Frankfurt, Germany / Phocus, Sala Kubo-Kutxa, San Sebastián / Photoespaña, Madrid 2011 Netherland Photomuseum, Rotterdam/ Hermitage Museum, Kazan, Russia / Multimedia Art Museum, Moscow / Museo Nacional de Arte Contemporáneo Santiago de Chile, Chile 2010 Museum für Angewandtekunst, Frankfurt, Germany / Nuevas historias, National Museum of Photography, Copenhagen; Kuntsi Museum Of Modern Art, Vaasa, Finland 2009 La mirada en el otro. Conexiones y confrontaciones, Palacio Nacional da Ajuda, Lisbon / Del icono al objeto, Museo Nacional de Bellas Artes. Buenos Aires 2008 Tecla Sala, Barcelona / Fundazione M. Marangoni, Florence, Italy 2007 Museet for Fotokunst, Odense, Denmark / CCBB. Rio de Janeiro, Brasil 2006 La visión Impura, Museo Nacional Reina Sofía, Madrid / Les Peintres de la vie moderne, Centre Pompidou, Paris / Con Cities, Biennale Archittetura Venezia / Obsesiones, Museo de Bellas Artes de Buenos Aires, Argentina 2005 Nueva Tecnología, Nueva Iconografía, Nueva Fotografía, Museo de Arte Abstracto, Cuenca / En las ciudades, Fundación Foto Colectania, Canal de Isabel II, Madrid

CAIO REISEWITZ Casa Canoas VII, 2015, C-print on diasec, ed. of 5 (1/5), 180 x 276 cm

CAIO REISEWITZ Casa JK, 2015, C-print on diasec, ed. of 8 (1/8), 122 x 168 cm

CAIO REISEWITZ Avanhandava, 2015, Inkjet print and collage, ed. of 8, 55 x 47 cm

CAIO REISEWITZ São Paulo, 1967 Lives and works in São Paulo The register of a high speed changing nature is one of the subjects that articulates the photographic work of Caio Reisewitz and, in this sense, his images are placed in a tradition in which the photographic means are a witness and capture ephemeral realities. The activity of man in the planet, and in certain areas in particular, modifies radically the landscape´s physiognomy. His photographs, most of all large formats, are characterized by their frontality and by a spectacular clarity that show an exuberant nature and a utopian unreal beauty. He himself comments: `sometimes these images don’t seem real, them being so utopian, but they are true, it’s pure reality´. The city in the forest, the forest in the city—this is the metaphor that currently drives much of Reisewitz’s work. It can be found in Casa Canoas series, which provides a fresh look at the legendary minimalist-style house that Niemeyer built for himself on the outskirts of Rio di Janeiro in 1951. As Reisewitz portrays it, the glass-walled dwelling all but disappears as luxuriant tropical vegetation (some of it is in fact collaged) relentlessly presses in from all sides. At the same time, the building’s elongated and sensuously curving white roof cordially reaches out to embrace the forest. In images like this, as throughout his work, Reisewitz holds out the hope that in Brazil, nature and human culture might one day be reconciled on common ground. SELECTION OF LAST EXHIBITIONS 2018 Biennale de l'Image Tangible, Paris 2017 Altamira, Pinacoteca do Estado de São Paulo / Pedro no Céu: Arte e a Arquitetura de Paulo Mendes da Rocha, MuBE, São Paulo / Metrópole: Experiência Paulistana, Pinacoteca, São Paulo 2016 Ingenios de hoy, Photoespaña, Museo de Albacete / Caleidoscopio y Rompecabezas, CAAM, Las Palmas, Gran Canaria / Histories: Contemporary Art from Brazil, USF Contemporary Art Museum, Florida 2015 Disorder, Maison Europeénne de la Photographie, Paris / Florestas, favelas e falcatruas, Huis Marseille Museum voor Fotografie, Amsterdam 2014 IPC International Center for Photography, New York / Museu de Arte Contemporanea de Goias, Goiania, Brazil / Jaraguá, Casa da Imagem, São Paulo, Brazil 2013 LARA, Latin American Roaming Artist, NC Arte, Bogotá, Colombia 2012 From the Margin to the Edge, Somerset House, London / Lugares en Pérdida, Centro de Arte Contemporáneo Huarte, Navarra / Segue-se ver o que quisesse, Fundaçao Clovis Salgado, Belo Horizonte, Brazil 2011 Ituporanga, Sesc Belenzinho, São Paulo / agua que cai, Galeria Joan Prats, Barcelona / 748.600, Paço das Artes, São Paulo / O Coleccionador de Sonhos. Instituto Figueiredo Ferraz, Riberao Preto, Brazil 2010 Modelos para armar, MUSAC, León / Nanjing Biennale, China / Cadavre Exquis, Centro Cultural São Paulo 2009 Projecto Parede: Caio Reisewitz, MAM, Museu de Arte Moderna, São Paulo / Tropics, National Gallery Capetown / GD Art and Technology, Pinacoteca di Bologna, Italy / II Bienal del Fin del Mundo, Ushuaia, Argentina 2008 Tropen, Martin Gropius Bau, Berlin / Assim se criam realidades, Galeria Joan Prats, Barcelona / Paraísos Indômitos/Untamed Paradises, CAAC, Seville and MARCO, Vigo / Parangolé: Fragmentos de los 90 en Brasil, Portugal y España, Museo Patio Herreriano de Valladolid / Arte pela Amazonia, Fundação Bienal de São Paulo 2007 I Bienal del Fin del Mundo, Ushuaia, Argentina / Trópicos, Centro Cultural Banco do Brasil, Brasilia / Portraits de Villes: Brasília, Chandigarh, Le Havre, Musée Malraux, Le Havre, France / Alegoría Barroca en el Arte Contemporáneo, Museo de Arte Contemporáneo, Santiago, Chile 2006 Zeitgenoessische Fotokunst aus Brasilien, Kunstmuseum Dieselkraftwerk, Cottbus; Stadtgalerie, Kiel 2005 51 Biennale di Venezia / Beyond Delirious, Cisneros Fontanals Art Foundation, Miami 2004 XXVI Bienal Internacional de São Paulo