Only-apartments' blog

ONLY BE AMSTERDAMMER

ONLY BE BUDAPESTER

ONLY BE VENETIAN

ONLY BE BARCELONIAN

ONLY BE BERLINER

ONLY BE VALENCIAN

ONLY BE ISTANBULITE

ONLY BE FLORENTINE

ONLY BE LISBOETA

ONLY BE LONDONER

ONLY BE NEW YORKER

ONLY BE MADRILENIAN

ONLY BE MALAGUEÑO

ONLY BE MILANESE

ONLY BE PARISIAN

ONLY BE PORTUENSE

ONLY BE PRAGUER

ONLY BE ROMAN

ONLY BE SEVILLIAN

ONLY BE PROXIMAMENTE

ONLY BE ATHENIAN

ONLY BE COMING SOON

Last posts

Mitte barcelona

Mónica Boixeda Barcelonian, Food and Drink in Barcelona, Only-Be

MITTE is an artistic space, a café, a pop-up window, all this forms MITTE-Barcelona, a lively space open to curious people.

İhsan Kemal Karaburçak at the Pera Museum in Istanbul

Mónica Boixeda Istanbulite, Only-Be

Until the 3rd of June, the Istanbul Pera Museum is exhibiting the highly original work of Turkish painter ?hsan Kemal Karaburçak. The show, which is called Retrospectives of Isham, brings together the best of the artist´s work from between 1968-1970. The exhibition, commissioned by historian and advisor to the Istanbul Pera Museum, Semra Germaner, is a compilation of pieces from private and public collections, presenting a complete body of Karaburçak´s work, which was supressed for years due to its alienation from the art elites and cultures of Turkey. In association with the retrospective, the Museum has edited a brilliant catalogue, written by Akoyunlu Ersoz Begur and Primavera Tania, which has an interesting cardboard cover design, and colour illustrations. Texts are in English and Turkish. ?hsan Kemal Karaburçak was born in Istanbul, Turkey in 1898. His entrance into painting came about in 1930, when he enrolled in the Paris École Universelle. His work in the telegraph and post services enabled him to organise his life around painting, converting a small room in his home into a studio. Throughout his development in painting, Karaburçak remained distant from the key art movements of the 20th century – despite the fact that his work demonstrated surrealist and naif styles, and was often evocative of Picasso, with the artist himself as having been inspired by Cezanne, and the precision of Matisse. Karaburçak made portraits in oil on canvas, using strong, defined brushstrokes – such as in Otoporte (1944). Imagery included morse code and geometric elements, whilst his more ´naif´ work of landscapes and small city scenes were more simplistic, and colourful. His independence and... read more

Lygia Pape at the Reina Sofia in Madrid

Mónica Boixeda Madrilenian, Only-Be

Until the 12th of September, the Reina Sofia Museum in Madrid is showing the work of Brazilian artist Lygia Pape. The exhibition was organised in association with the Lygia Pape Project, and was commissioned by Manuel Borja Villel and Teresa Velásquez. The show comprises 250 works, which include paintings, reliefs, xylographs, cinematography, poems, texts, and performance pieces as shown though photography. One of the most interesting, and exclusive parts of the collection is the series of experimental cinema that Pape made. Lygia Pape was born in New Friburg, Brazil, in 1927. Her name figures amongst the greats of Brazilian art, standing out for her mastery with the plastic arts, and an aesthetic devotion to devising new languages with which to transform the normal order. She was a key participant in the formation in the Frente art movement, led by Iván Serpa, which went public around 1954, with an exhibition in Rio de Janeiro. The group was formed by alumni of Serpa, and various artists which included Lygia Pape and Ligia Clark, who debated the influences of abstraction and the idea of concrete art in opposition to modern, figurative and nationalistic painting. In 1959, Pape separated from the Frente group, and joined the group which would revise concretism, and found “neo-contretism,” developing a new art manifesto which would breathe new life into contemporary Brazilian art. Neo-concretism was born as an opponent to the rationalism of concretism, and denied the validity of scientific attitudes in art, approaching instead the problem of expression and seeking to incorporate new dimensions, and languages for a non-figurative art which engaged the spectator in order to... read more