Regina Giménez | anamasprojects.com

Sunrays, 2018. Mixed media on canvas. 162 x 228 cm

Regina Giménez | anamasprojects.com

Sunrays, 2018. Mixed media on canvas. 140 x 100 cm

Regina Giménez | anamasprojects.com

Untitled, 2018. Collage on cardboard. 22 x 30 cm

Regina Giménez | anamasprojects.com

Utopia, 2018. Camping tables. Variable measures

Regina Giménez | anamasprojects.com

Ejercicios gráficos, 2018. Gouache and collage on canvas
6 panels 100 x 140 cm each

Regina Giménez | anamasprojects.com

Sunrays, 2018. Gouache on paper. 100x 70 cm

Regina Giménez | anamasprojects.com

Untitled, 2017. Collage on paper. 94 x 63 cm

Regina Giménez | anamasprojects.com

Untitled, 2018. Collage on cardboard. 160 x 200 cm

Regina Giménez | anamasprojects.com

Untitled, 2017. Collage and gouache and canvas. 100 x 140 cm

Regina Giménez | anamasprojects.com

S/T, 2017. Collage and mixed media on paper. 100 x 70 each unit © Roberto Ruiz

Regina Giménez | anamasprojects.com

Untitled, 2017. Collage and gouache on canvas. 39 3/8 × 55 1/8 inches (100 x 140 cm)

Regina Giménez | anamasprojects.com

Untitled, Dimensiones comparadas series, 2016. Gouache on paper. 95 x 68 cm © Roberto Ruiz

Regina Giménez | anamasprojects.com

El Sol visto desde, 2016. Carpet 100% virgin wool. 250 x 200 cm. Edition of 5 units © Roberto Ruiz

Regina Giménez | anamasprojects.com

To adopt another nature, 2017. Ink on paper (18 sheets) and plexiglass stencil (total sheets size: 95,5 x 141 cm) 29,5 x 21 (plexiglass) © Roberto Ruiz

Regina Giménez | anamasprojects.com

Vista de "El sol i la taula" Can Palauet (Mataró) 2018 © Fotos: Roberto Ruiz

Regina Giménez | anamasprojects.com

View of "El sol i la taula" Can Palauet (Mataró) 2018 © Fotos: Roberto Ruiz

Regina Giménez | anamasprojects.com

View of "El sol i la taula" Can Palauet (Mataró) 2018 © Fotos: Roberto Ruiz

Regina Giménez | anamasprojects.com

View of "El sol i la taula" Can Palauet (Mataró) 2018 © Fotos: Roberto Ruiz

Regina Giménez | anamasprojects.com

View of "El sol i la taula" Can Palauet (Mataró) 2018 © Fotos: Roberto Ruiz

Regina Giménez | anamasprojects.com

View of "El sol i la taula" Can Palauet (Mataró) 2018 © Fotos: Roberto Ruiz

Regina Giménez | anamasprojects.com

View of "L'architecture d'aujourd'hui" en exposición grupal "Materia Primera" Fabra i Coats (Barcelona) 2017

Regina Giménez | anamasprojects.com

View of "Adoptar otra naturaleza" Ana Mas Projects (Barcelona) 2017

Regina Giménez | anamasprojects.com

View of "Adoptar otra naturaleza" Ana Mas Projects (Barcelona) 2017

Regina Giménez | anamasprojects.com

View of "S/T, Serie Geografía Cósmica", Iglesia de Sant Martí de Capsec (La Garrotxa) 2016

Regina Giménez | anamasprojects.com

View of "La Constancia" Can Trinxet (Hospitalet de Llobregat) 2016

Regina Giménez | anamasprojects.com

Vista de "La Constancia" Can Trinxet (Hospitalet de Llobregat) 2016

Regina Giménez | anamasprojects.com

View of "La Constancia" Can Trinxet (Hospitalet de Llobregat) 2016

Regina Giménez | anamasprojects.com

View of "L'architecture d'aujourd'hui" The green parrot (Barcelona) 2015

Regina Giménez | anamasprojects.com

View of "L'architecture d'aujourd'hui" The green parrot (Barcelona), 2015

CV

REGINA GIMÉNEZ

SOLO EXHIBITIONS

2019

Durante la construcción de la muralla china. Galería Luis Adelantado, Valencia

2018

El sol i la taula. Can Palauet, Mataró

2017

L’Arquitecture d’aujourd’hui. Galería Vilaseco, A Coruña

Intervención en tienda Uterque, Barcelona.

Adoptar otra naturaleza. Ana Mas Projects, Barcelona

2016

Barcelona Gallery Weekend, Programa comisariado por Latitudes

2015

Architecture d’aujourd’hui. The Green Parrot, Barcelona

Art de foc art de badoc. Nadala 2015 Fundació Joan Miró, Barcelona

2014

Galeria Pepnot, Artà, Mallorca

Pieza única. Miquel Alzueta, Barcelona

2013

Gelerie Pierre Hallet, Bruselas

2012

Simbols Convencionals. Museu d´art modern, Diputació de Tarragona

2011

Galerie Arcturus, Paris

2009

Galerie Pierre Hallet, Bruselas

2008

Galería Jorge Alcolea, Madrid

Galería Can Mora de Dalt, Sant Vicenç de Montalt, Bacelona

Galería Vilaseco, A Coruña

Galería Trama, Barcelona

2007

Galería Miquel Alzueta, Casavells, Girona.

Galerie Arcturus, Paris.

2006

Galería Trama, Madrid

Galería Trama, Barcelona

La Galería, Sant Cugat del Vallès

2005

Pierre Hallet, Bruselas

Galerie Arcturus, París

Pro Arte, Friburgo, Alemania

Fundación Vila Casas, Espai Volart, Barcelona

2004

Galería Trama, Madrid.

Galería Mihael Dunev, Torroella de Montgrí, Girona

Glerie Arcturus, París

2003

Centre Cultural Caixa Terrassa, Terrassa, Barcelona

Pierre Hallet, Bruselas

Galería Cànem, Castelló

Galerie Bruno Delarue, París

Galería Alejandro Sales, Barcelona.

2002

Galería Jorge Albero, Madrid

A.C. Rose Selavy, Barcelona

Carmen Torralladona, Androrra La Vella, Andorra.

Galería Palatina, Buenos Aires

2001

Galería Palma XII, Vilafranca del Penedès, Barcelona

Cyprus, Sant Feliu de Boada, Girona

Galerie Bruno Delarue, París

2000

Galería Jorge Albero, Madrid

Galería Trama, Barcelona/Sala Parés, Barcelona

La Tour des Cardinaux, L’Isle-sur-la-Sorgue, Francia

1999

Galerie Le Cercle Bleu, Metz, Francia

Galerie Pierre Hallet, Bruselas

Galerie Bruno Delarue, París

1997

Sala Parés, Barcelona

GROUP EXHIBITIONS

2017

Materia Primera. Centro de art Contemporany Fabra i Coats, Barcelona

2016

Drawing, Madrid

2015

Celebración y Naufragio. Museo Municipal de Bellas Artes Juan Sanchez, Argentina

Gral. Roca. Patagonia, Argentina

Biennal de Valls, Valls. Tarragona

2014

Iceberg Z46. Galeria Trama, Barcelona

2013

Modernitat Amagada. Casa Capell. Mataró

Swab. Galeria +R, Barcelona

Sant Pol sur Mer. Museu de pintura, Sant Pol de Mar, Barcelona

La casa de la playa. Cas de estudi. Can Felipa, Barcelona

2010

Winners. Canòdrom 00:00:00. Canòdrom. Centre d´art, Barcelona

Premio Máximo Ramos de Gravado. Centro Torrente Ballester, A Coruña

2008

Galerie Estivale d’Anières, Anières, Suiza

Kiaf 2008. Galería Jorge Alcolea, Corea

Scope 2008. Galería Jorge Alcolea, Londres

2007

Le Lot, Cahors, Francia

AWARDS

2010

Primer Premi Bienal d’Art 2010. Diputació de Tarragona, Tarragona

2007

Seleccionada Premio Ángel de Pintura, Granada

2002

Seleccionada Premio Generación 2002 Grabado Caja Madrid, Madrid

2001

Primer Premio Ricard Camí, Caixa de Terrassa, Barcelona

1999

Premio Fundación Enciclopédia Catalana, Barcelona

Segundo Premio Centenario Futbol Club Barcelona, Barcelona.

1998

Fondation Coprime, París

Col·lecció Testimoni, la Caixa, Barcelona

Col·lecció Banc Sabadell, Barcelona

Fundación Privada Vila Casas, Barcelona

1995

Primer Premio XXXVII Premi Sala Parés, Barcelona

1988

Primer Premio XXX Premi Sala Parés, Barcelona

COLLECTIONS

MUSAC – Museo de Arte Contemporáneo de Castilla y León Colección Isabel Marant, Paris

Jamestown Group Collection, Atlanta

Lawrence Benenson, New York

Fundación Vila Casas, Barcelona

Colección Banco Sabadell, España

Museu d’Art Modern. Diputació de Tarragona, Tarragona. Fundación Carmen & Lluís Bassat

Fondation Coprime, París, França

Col-lecció Testimoni, La Caixa, Barcelona

 

 

Texts

  • THE DYSFUNCTIONAL WORLD MAP
    David Armengol

    The world map is possibly one of the most complex and expertly visual symbols created by man. An ambicious exercise in representation, recognition and mastery of the world which, halfway between the abstraction of its forms and the physical reality of the global territory, offers a perfect and supposedly reliable cartographic synopsis of earth’s surface.

    There are two types of symbolic convention which allow us to understand ans assimilate the entire world based on possible formal interpretations. One the one hand, the sphere, the three-dimensional globe, and on the other, the map, the two-dimensional projection of said globe. A second example which bears major similarities with pictorial representation in general, and with the work of Regina Giménez in particular.

    Therefore, it is no surprise that for the individual exhibition at the Tarragona Museum of Modern Art, the artist employs the concept of the “conventional symbol” as a discursive axis and the closely related subject matter of world maps. An ironic procedure which uses the specific symbology of global cartography to subjectify and question the regulatory organisation of the conventions that define us. An artistic subversion in which Regina Giménez combines multiple registers of presentation in a kind of visual collage in which form and colour interact on the same level with photographic images and text. Frequent resources in her pictorial practice which, on this occasion, give rise to a collection of pictorial maps freed of any logical functionality.

    Conventionals symbols combines two proposals that are simultaneously autonomous and complementary. A series of 12 large-format world maps produced in mixed technique on paper, and a small series of 9 drawings in which the recognisable outline of the map disappears to exhibit an arbitrary and abstract series of icons. Two distinct chapters whichencounter in the simplicity and fragility of paper the ideal support to express the visual experiments that define her painting.

    The world maps -the central theme of the exhibition- represent for the artist a formal and conceptual synopsis of all her recent work.

    A common element within her career has now attained its maximum splendour, both in terms of the

    number of works presented -a dozen-, and the narrative capacity of each one.

    A collection of impossible maps based on photographic appropriations taken from old publications on functional arquitecture which, beyond all geographical coincidence, offer a dysfunctional and nostalgic approximation to the world map. Consequently, the twelve world maps in Conventionals symbols directly reflect the utopian and idealistic quest that characterises the painting of Regina Giménez. A work which is particulary sensitive to the systemization processes of universal knowledge -tha map, the encyclopaedia, etc.- and which suggests an intimate and poetic approach to our relationships with space and time. An inhabitable, limited and constructed space -hence the continual references to rationalistic architecture and interior design-;a nostalgic and aged era, in which the present seems to depend irredeemably on a yearned for, desired and lost past.

    Next, in counterposition to the scenographic conception of the world maps, the exhibition displays a selection of drawings which possibly point towards a new line of work in the artist’s career. Minimalist pieces in which the form of the map disappears, allowing only intuition based on the iconic symbols grouped together on the paper. A process of geomteric abstraction in which the icon -reduced to a basic chromatic range – red, black and blue- becomes incomprehensible through the omission of the legend that would explain its significance. A new register of cartographic inspiration -the icons belong to actual statistical studies -oil rigs, global milk production, etc.- where the conscious disabling of the symbol transforms these graphic images into a series of visual poems of a pictorial origin.

    In short, we could say that Conventionals symbols halfway between abstraction and certain forms of magic realism, finds its principle raison d’être in its distancing from the regulatory and the standarised. A continual game of escapism in which the conventional symbol that gives its title to the exhibition, so necessary from a practical perspective in our everyday lives, is pleasingly deactivated and neutralised through the speculative, fanciful and illusory capacities that produce work in art.

CloseExhibitions