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25.08.18 - 25.11.18

We cordially invite you to the opening of the exhibition on Saturday August, 25th between 12pm and 2pm

CCA Andratx is delighted to host the first solo-exhibition with the German artist Uwe Henneken.leaves will present the artist’s new works on paper created during his stay at the CCA Studios as part of the internationally renowned Artist-in-Residence Program. Uwe Henneken (Paderborn, 1974) is well known for his oil paintings of inner landscapes in distinctive colours that deal with possibilities and processes of personal and collective development.

During his stay in the Studios in 2017 he started to intensively work with paper as medium for the first time in his career. “I love the lightness and playfulness while working on paper. The images and inspirations are flying in to me like leaves, like in a dream or vision, some passing by, some stay, some I throw away. Some come in different versions and fade again the next moment“, the artist describes his experience.

We are pleased to present a selection of these leaves that the wind blew in-to him and into the exhibition space. While most of the drawings have been inspired by the landscape surrounding CCA, other has been created while travelling abroad or even while taking care of his mother.

Additionally, the large-scale work presents a journey from matter into light. Henneken combines in this work his impressions of the surrounding Serra de Tramuntana and the disease process of his mother.

27.09.18 - 23.12.18

We cordially invite you to the opening of the exhibition on Thursday September, 27th between 7pm and 9pm

Waiting for the tide – Waiting for the rain unfolds a series of new works by Bent Holstein, a painter and graphic artist whose work has been based on photography throughout his career. CCA Andratx is pleased to present the second solo-show with the artist.

While his first exhibition, “Before the Avalanche” (2014) comprised depictions of the early snow in the Alps, the current exhibition will confront the beholder with the vast climate-change effects and however the unpredictability of nature continues. Observing Holstein’s works, one may have the strange feeling of a dangerous situation being about to happen, the power of nature.

The title of the exhibition and the featured artworks are greatly inspired by both, this Summer’s unusual heat in Denmark, which offered apocalyptic views of dried trees and landscapes, and the draught Bahamas’ beaches in Long Island, waiting for the high tide.

The show presents a photographic series printed on paper and mounted on dibond or framed. By using Archival pigment prints, the artist has edited the works with several techniques and different materials such as wax, dispersion, stain, lacquer and oil.

Bent Holstein, has been represented by Galerie Asbaek since 1975 and his work is represented in several international museums and art collections.

27.09.18 - 23.12.18

We cordially invite you to the opening of the exhibition on Thursday September, 27th between 7pm and 9pm

CCA Andratx is pleased to present the new exhibition by the British artist Diana Taylor, featuring her newest series of works created during her stay at the CCA Studios as part of its internationally renowned Artist-in-Residence Program.

Intrinsic to Taylor’s practice, is the collection and appropriation of existing imagery and printed ephemera sourced from discount stores and through online sources. The title of the show refers to holding on as both ‘waiting’ -alluding to the impact of digital media upon traditional craft processes in these times of alarming technological acceleration, and as describing a sense of ‘longing’ in reference to recent loss in the artists’ personal life.

In this series of textile hangings, the work began with screen-printed reproductions on canvases from details of the handiwork from a collection of tablecloths belonging to the artist’s late mother, herself an accomplished seamstress and craftsperson. The canvases were brought to CCA in April during a residency, where the large prints were cut, painted, stitched and reconfigured. Made by skilled artisans in Cyprus, over many hours of care and precise needlework, these tablecloths are translated almost instantaneously from analogue to digital format. The crotchet and lace borders of these cloths are scanned, enlarged and repeatedly screen printed on the canvas and then reconstructed by hand emphasizing the authentic craft through the various logics of time and through the repetition of stitching over the reproduction of the original work. The processes involved then traverse through temporalities and authors, at different paces, from the hand of an unknown craftsperson to the digital screen, then to the mechanical screen-printing process, finally returning to the artists’ hand.

Crucial to Taylor’s practice is the question of what is at stake. The work becomes activated over time, through the processes and the build-up of ideas being explored and discarded. Errors are embraced in contrast with more traditional methods of correcting; contradictions of decision and indecision are left exposed. These collages are palimpsests of remnants referencing dichotomies of art and craft, ancient and modern, fast and slow, traditional and digital. Oil paintings of ancient Greek pots are obscured by tapestry nets. Fragments of domestic ephemera from souvenir tea-towels, patterns from digitally printed vinyl tablecloths, and non-slip mats for cutlery drawers are used for tapestry stitching. Patchwork of traditional English fabrics (Morris, Liberty and Ashley) are composed on the canvas through an aleatory process, again subverting their intended use. Clothes patch motifs from China, screen prints of discarded lottery tickets and a palm tree printed hoody from Primark are stitched in, floating together and alluding to the idea of contemporaneity as being a-temporal by nature; a temporality which is always looking outside of its own time and in which the image itself immediately becomes a ruin.

In addition to the recycling of fabrics from thrift shops and the scrap bins in textile shops, a new search or collection was triggered by incomplete tapestries of Taylor’s mother. Scouring and buying from E-bay for other unfinished tapestries has led her to photograph and digitally print these tapestries, further painting into and stitching into the image where the original was incomplete.

Diana Taylor (U.K., 1977) lives and works in London. She is currently a practice based PhD researcher at Sheffield Hallam Uni., working in collaboration with the William Morris Gallery, London, awarded with AHRC funding. Taylor graduated from the Slade School of Fine Art in 2010 with an MFA (Painting). Selected residencies include CCA Andratx, 2018 (also 2012), The Factory Floor, Modern Art Oxford (2015) and the Abbey Scholarship in Painting, The British School at Rome (2011). She will be undertaking a residency at 18th Street Arts Centre in Los Angeles (2019). Forthcoming shows include Wells Art Contemporary, U.K. (Oct).

01.09.18 - 23.02.19

CCA Andratx is pleased to present the German artist Claus Rottenbacher’s photographic seriesNon Plus Ultra. His practice commonly deals the dialogues between architecture and landscape and this new series of work explores the transcendence of Gibraltar as the testimony in stone of a brutalist frontier between Great Britain and the Kingdom of Spain.

For more than three centuries, since the Treaty of Utrecht in 1713, the British flag blows over the Rock of Gibraltar, but this little piece of land of no more than 7 km² was already the scenery in Antique myths and legends as well as the end of the known world until the 15th Century.

The individual landscapes of the series Non Plus Ultra may seem film sets, however they stand far from a documentary approach. Rottenbacher appeals the works for a critical and aesthetic reflection upon European borders. Captured in 2016, in the light of Brexit and the new U.S. politics of America First, his works highlight the current shift of the socio-political scenario, however Gibraltar continue stoday to exist as a witness bearer and living memory of ongoing tension.

“Claus Rottenbacher’s intrinsically political message inquires about the context of history, photography and architecture. […] His images become spaces of memory, spaces of societal and collective relevance. Spaces and systems change. Images remain.” (Felix Hoffmann)

Claus Rottenbacher lives and works in Berlin. All photographs are made with an analogue large-format camera.

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