AMP_Bcn


Mercedes Mangrané

Patch

17/11/2020 - 29/01/2021


+ PROJECTS
Patch | anamasprojects.com

Patch | anamasprojects.com

Patch | anamasprojects.com

Patch | anamasprojects.com

Patch | anamasprojects.com

Patch | anamasprojects.com

Patch | anamasprojects.com


Dossier (12 MB)

CloseViews

Text

Mercedes Mangrané | Patch

17.11.20 – 29.01.21

 

But only knitting entertained Irene,

she showed wonderful skill

and hours passed me by watching her hands

like silver sea urchins, needles coming and going

and one or two small baskets on the floor

where the yarns were constantly jumping about

Julio Cortázar. House Taken Over

 

Our way of being-in-the-world is to dwell.

In his 1951 conference Building, Dwelling, Thinking, Martin Heidegger reminds us how in Old High German, building and dwelling were inseparable, normalizing building as something always-already a dwelling, buan. A sense of staying, delaying, a hiatus, a temporeity that allows us to practice the same. Together with buan, Heidegger looks at the old word bauen, which refers to how human beings are how they dwell. But bauen also means to protect and to take care of, to preserve and to cultivate.

There are times when the fiction of the convention we call reality presents walls as boundaries, as impenetrable mechanisms. They operate necropolitically against some objects, when in an attempt to hold them down they destroy them. As if the oikos were something private that protects itself through architectural isolation strategies. The wall as a shield that protects us from otherness. The wall as a fortress. But walls, beyond these perverse fictions, are horizons of possibility. Taking shelter in the walls is what lives in the planes of non-representation, what happens in a halfway space between seeing and concealing.

The windows, with their veil, conceal as a re-articulation of sensitivity, allowing for a retreat that cares without

isolating, because any isolation is contrary to dwelling, contrary to the always-already kind of being that is co-being. We find ourselves in each and every one of the spheres of dwelling, in spite of the multiple attempts to define an inside and an outside. Dwelling is the before what-is to a constant motion towards the house, in which we are never fully present but towards which we always move. Our being-in-the-world occurs at the intersections between the spheres of dwelling, on the paths where we accompany each other. It occurs in the caressing of the patches that form the agreement called the world, whose lines gather papers that invite us to look. Pushing us out to the portals where it would seem that, in Agamben’s words, the invisible light that is the darkness of the present casts its shadow on the past, so the past, touched by this shadow, acquires the ability to respond to the darkness of the now .

When the house, in its essence, does not exist, only the possibility of the relational dimension of existence remains. All that remains is a being-with instead of a being-in . The walls of this exhibition are not the limits, but rather the in-between of the space one can move around. A shared retreat to bring together collaborative efforts, to cultivate those could-still-make-its that are to come. Dwelling is how we become entangled in the world through yarns, through a place that always-already forms other places. It is the taking over of a house in which to weave nets for the tremors to come.

Our way of dwelling is to weave.

 

Laura Benítez Valero

 

 

Ana Mas Projects presents “Patch”, the second individual exhibition of Mercedes Mangrané in our space in L’Hospitalet de Llobregat. For this exhibition Mangrané presents a series of small format oil paintings in connection with watercolors and photographs taken with the chellphone.

Mercedes Mangrané (Barcelona, 1988) reimagines relationships on one’s own body from a painting whose surface is destabilized, investigating the tremors of light embodied in matter and the forms of recollection. Through photographs of ephemeral moments, daily epiphanies and encounters with the material, it brings closer to the ground, the walls and the doorways, among other urban elements that show horizons of possibility from their opacity and resistance.

The universe unfolded in “Patch”, proposes a tension over the desire between the tangible and the intangible, between clear and vaporous motifs: works whose tonal games turn on and off, showing a reflection on that which resists being looked at.

Mangrané investigates the organic forms that overlap and are superimposed from the act of constructing by hiding, from a visual field that questions the visibility and the traces of subjectivity in the material culture. Through formal and conceptual research, the artist explores the imaginary of interstitial spaces, such as the paradox of shelter in the open, the negative and positive spaces in the figures that refer to the mold or matrix, and the contours that delimit the tangible, as well as its gaps.

 

About the artist:

Mercedes Mangrané (Barcelona, 1988) is a visual artist with a wide perspective in painting and video. Her works are based on the closest observation of the details of daily life with an anthropological and poetic interest through a careful simplicity. Part of the narratives of her pictorial investigations deal with the interest in the surface from a fragile materiality and the different transformations of the body in its transit through urban and domestic spaces.

She has participated in the solo exhibitions “Drainage systems” Georg Kargl Box, Vienna (2020); “Asir” Museo Patio Herreriano, Valladolid (2019); “Reward” Ana Mas Projects (special mention in the festival Art Nou 2017), “Susceptible” Cultural Rizoma, Celrà, Girona (2019), “April Season” Side Gallery, Casavells (2019) and has also participated in the project Composicions in the framework of the Barcelona Gallery Weekend (2020).

She has participated in several collective exhibitions in national and international cultural institutions, such as Centre d’Art Santa Mònica (Barcelona), Can Felipa (Barcelona), Sala d’Art Jove (Barcelona), Bòlit Centre d’Art Contemporani (Girona), Centro Cultural del Carme (Valencia), Capella de St Roc (Tarragona), Espai AB9 (Murcia), Espai Sala 15 (Olot); Kunstraum Lakeside (Vienna). Her work has been exhibited in group shows at Luis Adelantado Gallery (Valencia), Espacio Trapezio (Madrid), Esther Montoriol Gallery (Barcelona), or Bacelos Gallery (Vigo).

Mercedes Mangrané has participated in the International Art Prize Fundación Maria José Jove, Vigo (2019), Leandre Cristòfol Art Biennial (Acquisition Prize at Centre d’Art La Panera Art, Lleida) (2015), Amposta’10 Biennial; selected for the collective of the Mardel Visual Arts Prize, Valencia (2018) and in the eighth edition of the Torres-García Painting Prize, Fundació Iluro, Mataró (2020).

Mercedes Mangrané has obtained several art grants such as “La noche de los museos” 2018 (Creation and museums, Ajuntament de Barcelona and Jardín Botánico de Barcelona, co-production of Hangar.org), Can Felipa Arts Visuals 2014 (Barcelona), Sala d’Art Jove 2012 (Barcelona). In 2018 she receives the painting acquisition award from the Fundació Vila Casas at the Swab Barcelona Art Fair. The artist’s work has been exhibited in several international art fairs with Ana Mas Projects gallery (Artissima 2019, ARCO 2018, Swab Art Fair Barcelona 2018, Untitled Miami 2017).

Her work can be seen in different international public and private art collections such as the Colección Banc Sabadell, Fundació Vila Casas, Centre d’Art la Panera (Lleida), the Juan Ball and Florence Drake Collection (Paris/Buenos Aires), Collectors House (Holland), Kells Collection (Santander), Brasswell FL (Chicago), Soho House (Barcelona), among others.