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5 June -  24 October 2015



Stefan Brüggemann


Parra & Romero is pleased to present its first solo show by the artist Stefan Brüggemann (Mexico, 1975) at its gallery in Ibiza. Titled Timeless, the show reflects the accelerated society where we live. A society where everything is running so fast, but, at the same time remains static.

Stefan Brüggemann’s work is rooted in the Post Conceptualism of the 60’s and 70’s. Our environment and the traditional aesthetic categorizations are questioned by his artistic practice, always from a critical, sometimes ironical, point of view. His intention is confronting the spectator with himself, suggesting questions, never certain answers.

The artwork that articulates the show is Time Paintings, 2015, the huge mirror wall that dominates all the space. The use of the mirror is a constant on Brüggemann’s artistic practice. It represents the speculation and alludes to the tension between fiction and reality. Using this, the artist confronts the viewer with the piece, inviting him to look inside himself. In this occasion two layers are applied on the mirror surface. The first one is a vinyl text coming from the work Time, 2014, which thinks about the time velocity. The text is fixed to the surface in a gestural way. The words are overlapped and part of the information is lost. Equally, nowadays the velocity of the information exchange provokes the loss of significant. Finally, as the Puddle Paintings series, the artist applies a second layer of liquid aluminium streams, which provide a sensation of static dynamism, as the work is frozen on time.

The Trash Mirror Boxes (After M.V), 2015 also use the mirror as starting point and are a critic to the consumer society. These works part from a subtle wink to Meyer Vaisman oeuvre. On 1991 this Venezuelan artist created a serie of cardboard boxes marked with the word “trash”, making out that they contained rubbish. However, in Brüggemann’s boxes the trash is not inside the box, is in the environment that surrounds it. Besides, these pieces are not part of a series. Each box is different, as the text is taken from the artist’s handwriting. All of them have the same text, but executed in a different way in each one.

Finally, This is not an exit, 2015 refers to an existential question: the necessity we have of finding an exit, an escape valve. However, at the end, we are able to escape from everything except from ourselves. This is a work that does not give conclusions, it suggest several questions. Is it possible to use the door? Can we open it? Where does it lead? Is it a sculpture or an installation?

Stefan Brüggemann lives and works between London and México D.F. He recently exhibited at Contemporary Art Gallery, Vancouver, Canada, 2014; Museo Jumex, México, 2013; The Netherlands Architecture Institute, Rotterdam, The Netherlands, 2013; Jeu de Paume, París, 2013; Bass Museum, Miami Beach, 2012; Museo d’Arte Contemporanea, Roma, Italy, 2012; Museo Tamayo, México D.F., 2012; Mies van der Rohe Pavillion, Barcelona,

2011; M HKA, Amberes, Belgium, 2011; Fundação Serralves, Porto, Portugal, 2010; Villa du Parc, Anemasse, France, 2010; Kunsthalle Lissabon, Lisboa, 2010; Kunsthalle Bern, Switzerland, 2008.

Philippe Decrauzat


Parra & Romero is pleased to present the first solo show by the artist Philippe Decrauzat (Lausanne, 1974) at its gallery in Ibiza. Titled Anisotropy, the starting point of the exhibition is an aluminium sculpture which is at the origin of Decrauzat’s several short films. This sculpture is the transposition of a scientific object used to study the wavelengths behaviour on liquid elements. It also evokes a zoetrope, a pre-­-film animation device which, once moved by hand, produces illusion of motion and after images.

The film shown at the exhibition reflects the sculpture in rotation at variable speed on an axis, filmed with a 16 mm camera. During the opening, Decrauzat invites the guitarist and composer Alan Licht to play live during the screening of Anisotropy on an specific stage and screen. Once the performance is finished, the aluminium sculpture will take place at the exhibition as the only witness of what happened.

The piece used as stage, titled Steps/Stage/Screen (The Primitives), is a white wooden replica of the structure designed by Le Corbusier for the Cité radieuse’s roof top in Marseille (1952). It is a simple geometric composition with horizontal and vertical planes, reflecting a condense of architecture. This is a metaphor of representation. The back shows some kind of negative and non rational space, as it draws a figure.

The Flags (WV) paintings encircle the space. Drawn from a simple curve line multiplied on a diagonal, they generate an undulation fragmented by the shaped canvas. There is a mathematical progression of the same motif. The ratio stays the same, but the scale is different. Without even having to move, the spectator is confronted with different versions of the different versions of the work, generating different greys or being able to read the lines. The paintings are confronted to their preparatory drawings in scale and also come closer to their future photographic reproduction. A painting, a drawing a reproduction, the change of scale means that every possible instance of the image is present.

Philippe Decrauzat is co-­-founder of the independent space CIRCUIT and professor at Ecole Cantonale d’Art de Lausanne (ECAL). In the past few years, he had solo exhibitions at Le Magasin, Grenoble, 2014; FRAC Le Plateau – Ile-­-de-­-France, Paris, 2012; Haus Konstruktiv, Zurich, 2009; Secession, Vienna, 2008; Centre d’Art Contemporaine, Geneve, 2005. He also participated at several group shows as Dynamo. Un siècle de lumière et the mouvement dans l’art. 1913-­-2013; Galeries Abstract Generation: Now in Print, MoMA, New York; An Exhibition as a Mental Mandala (curated by Mathew Copeland), MUAC, Mexico.

Alan Licht (New Yersey, 1968) has appeared on over 75 recordings that range from minimalist composition to indie rock to free improvisation. Licht was curator at the famed New York experimental music venue Tonic from 2000 until its closing in 2007. He is also the author of Sound Art: Beyond Music, Between Categories (Rizzoli, 2007) and the editor of Will Oldham on Bonnie 'Prince' Billy (Faber & Faber/W.W. Norton, 2012), and has written extensively about the arts for the WIRE, Artforum, Modern Painters, Art Review, Film Coment, Sight & Sound, Purple, Village Voice, Time Out New York, and other publications.

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