2022.12.16
2023.02.28
Opening
Warehouse
CarrerasMugica is pleased to present, from 16 December to 28 February, Café con leche, piña, huevo con jitomate, cebolla y cilantro (Coffee with milk, pineapple, egg with tomato, onion and coriander), an exhibition featuring artists David Bestué, Susana Solano and Julia Spínola, curated by Jorge Satorre.
→ Jorge SatorreFrom my inexperience, the way I have found to respond to the invitation to propose this exhibition has been to think about the selection of participants and the staging as if it were organised by someone else. It would be planned to show a selection of participants and the staging as if it were organised by someone else. It would be planned to show a work of mine as an artist that was not ultimately included, and since I can decide the reason, I would say it is because I forgot about it. a work of mine as an artist that was not ultimately included, and since I can decide the reason, I would say it is because I forgot about it. That work does not exist, but there is some reality in the exercise; I know where I would get my impetus and probably in these weeks That work does not exist, but there is some reality in the exercise; I know where I would get my inspiration from, and I would probably be working on it in the coming weeks if it weren't for the fact that my time is devoted to this exhibition, which I would like to emphasise is not about I would be working on it if it weren't for the fact that my time is devoted to this exhibition, which I would like to emphasise is not about that work that I did not show, nor is it its substitute or its result. that work that I did not show, nor is it its substitute or its result.
The starting point, if I ever get around to doing that work, would be the phone conversations I have with my mum about what we eat: she tells me and I tell her if we cooked something tasty or if it turned out badly or if it was too heavy; what we plan to prepare for the weekend or if we find a recipe that looks good. What we plan to prepare for the weekend or if we find a recipe that looks good. We discuss whether the avocados we eat are from Michoacán or Málaga, where they also grow very good mangoes, we mention whether the avocados we eat are from Michoacán or Málaga, where they also grow very good mangoes, although not as good as the Manila ones we have in Mexico, and that the Axarquía is running out of water because they abandoned although not as good as the Manila ones we have in Mexico, and that the Axarquía is running out of water because they abandoned dry farming for tropical crops. dry farming for tropical crops.
These conversations are not just anything because, deep down, I believe that we are really talking about how These conversations are not just anything because, deep down, I believe that we are really talking about how my mother's and my organs react to what we decide to provide them with, and by sharing what we eat, our insides synchronise at times. I think that in the spectrum of distances that exist in any decision (the eventual production of a work of art in this case), this is a way of getting very close and adopting such a great closeness that it goes beyond the skin to reach everything that we cannot see or control within ourselves, implying at the same time a great distancing. this is a way of pushing oneself to the edge and adopting such closeness that it pierces the skin to reach everything we cannot see or control within ourselves, while at the same time implying a great distancing from many other aspects.
David Bestué (Barcelona, 1980). Lives and works in Barcelona. He studied at the Faculty of Fine Arts of the University of Barcelona. He is an artist, writer and curator. As an artist, some of his most recent exhibitions have been Aflorar at the Jorge Oteiza Museum, Alzuza (2022); Pastoral at La Panera, Lleida (2021); De perder un nombre, Diputación de Huesca (2020); Tramas, CentroCentro, Madrid (2019); and ROSI AMOR at the Reina Sofía National Art Museum, Madrid (2017). As a curator, his most recent exhibitions have been El sentit de l'escultura at the Joan Miró Foundation, Barcelona (2021); and La plaça in Hospitalet de Llobregat (2019). As a writer, he has published books on Enric Miralles, Viaplana i Piñón, El Escorial and the recent history of architecture and engineering in Spain.
Susana Solano (Barcelona, 1946). Lives and works in Barcelona. She studied at the Faculty of Fine Arts in Barcelona, where she also taught. She has participated in international competitions such as Documenta in Kassel VIII and IX (1987 and 1992), the XIX São Paulo Biennial (1987), Skulptur Projekte in Münster (1987), the Venice Biennale (1988 and 1993) and the Carnegie International in Pittsburgh (1988). His most recent exhibitions include El mundo de las cosas (The World of Things), CNIO Arte (2022); Fragmentos y vínculos (Fragments and Links), Monastery of Santa María de Bujedo, Burgos (2022); Galerie Bernard Bouche, Paris (2020); Acta, IVAM Institut Valencià d'Art Modern, Valencia (2019); Acta (dos), Museo Patio Herreriano, Valladolid (2019). His work is present in various museums and collections, such as the Stedelijk Museum. Amsterdam; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museet for Samtidskunst. National Museum of Contemporary Art, Oslo; MoMA Museum of Modern Art, New York; Moderner Kunst Stiftung Ludwig Museum, Vienna; MACBA Museu d'Art Contemporani de Barcelona, Barcelona; Fundación Helga de Alvear, Cáceres; Guggenheim Museum Bilbao; Carnegie Museum of Art, Pittsburgh, among others.
Julia Spínola (Madrid, 1979). Lives and works in Barcelona. She has a degree in Fine Arts from the Complutense University of Madrid and also studied at the Faculty of Fine Arts in Lisbon. She has received several scholarships and awards, such as the DAAD residency (Berlin), the Marcelino Botín 2013 Plastic Arts Scholarship and the El Ojo Crítico Award of Plastic Arts from Radio Nacional de España 2013, Generaciones 2013 (Madrid) and the ARCO 2017 Award from the Community of Madrid. Some of his most recent exhibitions include Dialecto CA2M, CA2M, Madrid (2021); vis., Fundació Miró, Barcelona (2020); Rojamente, Espacio ARTIATX Bilbao (2020); Footnote to a Footnote, Royal Academy of Spain in Rome (2020). His work is in various museums and collections such as the Museo Nacional Centro de Arte Reina Sofía (MNCARS); Fundación Marcelino Botín; Colección de Arte Comunidad de Madrid/CA2; Museo La Panera, Lleida and Fundación Montemadrid/La Casa Encendida, Madrid.
Jorge Satorre (Mexico City, 1979). Lives and works between Mexico City and Bilbao. He has a degree in Graphic Communication Design from the Autonomous Metropolitan University-Azc in Mexico City. He has also taken part in artist residency programmes such as HANGAR, Barcelona; ARP, Irish Museum of Modern Art; Le Pavillon, Palais de Tokyo, Paris; and Gasworks, London. His work has been exhibited individually in several museums and galleries, including: CRAC, Alsace, France; REDCAT, Los Angeles; Museo Tamayo, Mexico City; CarrerasMugica, Bilbao; Galería Labor, Mexico City; Statements, Art Basel; Artspace, Auckland, New Zealand; Le Grand Café, St-Nazaire, France; and FormContent, London, among others. His work can be found in museums and collections such as the Museo Nacional Centro de Arte Reina Sofía and CA2M (Madrid), De Bruijn-Heijn collection (Amsterdam), MUAC, Colección Jumex and Museo Tamayo (Mexico), Fracdes Pays de la Loire and CNAP Centre national des arts plastiques (France). As a curator, he has worked with Erick Beltrán on Modelling Standard, Galería Joan Prats, Barcelona; and, more recently, on Redonda redonda, an exhibition by artist Alberto Peral for Tecla Sala, Barcelona.
From my inexperience, the way I have found to respond to the invitation to propose this exhibition has been to think about the selection of participants and the staging as if it were organised by someone else. It would be planned to show a selection of participants and the staging as if it were organised by someone else. It would be planned to show a work of mine as an artist that was not ultimately included, and since I can decide the reason, I would say it is because I forgot about it. a work of mine as an artist that was not ultimately included, and since I can decide the reason, I would say it is because I forgot about it. That work does not exist, but there is some reality in the exercise; I know where I would get my impetus and probably in these weeks That work does not exist, but there is some reality in the exercise; I know where I would get my inspiration from, and I would probably be working on it in the coming weeks if it weren't for the fact that my time is devoted to this exhibition, which I would like to emphasise is not about I would be working on it if it weren't for the fact that my time is devoted to this exhibition, which I would like to emphasise is not about that work that I did not show, nor is it its substitute or its result. that work that I did not show, nor is it its substitute or its result.
The starting point, if I ever get around to doing that work, would be the phone conversations I have with my mum about what we eat: she tells me and I tell her if we cooked something tasty or if it turned out badly or if it was too heavy; what we plan to prepare for the weekend or if we find a recipe that looks good. What we plan to prepare for the weekend or if we find a recipe that looks good. We discuss whether the avocados we eat are from Michoacán or Málaga, where they also grow very good mangoes, we mention whether the avocados we eat are from Michoacán or Málaga, where they also grow very good mangoes, although not as good as the Manila ones we have in Mexico, and that the Axarquía is running out of water because they abandoned although not as good as the Manila ones we have in Mexico, and that the Axarquía is running out of water because they abandoned dry farming for tropical crops. dry farming for tropical crops.
These conversations are not just anything because, deep down, I believe that we are really talking about how These conversations are not just anything because, deep down, I believe that we are really talking about how my mother's and my organs react to what we decide to provide them with, and by sharing what we eat, our insides synchronise at times. I think that in the spectrum of distances that exist in any decision (the eventual production of a work of art in this case), this is a way of getting very close and adopting such a great closeness that it goes beyond the skin to reach everything that we cannot see or control within ourselves, implying at the same time a great distancing. this is a way of pushing oneself to the edge and adopting such closeness that it pierces the skin to reach everything we cannot see or control within ourselves, while at the same time implying a great distancing from many other aspects.
David Bestué (Barcelona, 1980). Lives and works in Barcelona. He studied at the Faculty of Fine Arts of the University of Barcelona. He is an artist, writer and curator. As an artist, some of his most recent exhibitions have been Aflorar at the Jorge Oteiza Museum, Alzuza (2022); Pastoral at La Panera, Lleida (2021); De perder un nombre, Diputación de Huesca (2020); Tramas, CentroCentro, Madrid (2019); and ROSI AMOR at the Reina Sofía National Art Museum, Madrid (2017). As a curator, his most recent exhibitions have been El sentit de l'escultura at the Joan Miró Foundation, Barcelona (2021); and La plaça in Hospitalet de Llobregat (2019). As a writer, he has published books on Enric Miralles, Viaplana i Piñón, El Escorial and the recent history of architecture and engineering in Spain.
Susana Solano (Barcelona, 1946). Lives and works in Barcelona. She studied at the Faculty of Fine Arts in Barcelona, where she also taught. She has participated in international competitions such as Documenta in Kassel VIII and IX (1987 and 1992), the XIX São Paulo Biennial (1987), Skulptur Projekte in Münster (1987), the Venice Biennale (1988 and 1993) and the Carnegie International in Pittsburgh (1988). His most recent exhibitions include El mundo de las cosas (The World of Things), CNIO Arte (2022); Fragmentos y vínculos (Fragments and Links), Monastery of Santa María de Bujedo, Burgos (2022); Galerie Bernard Bouche, Paris (2020); Acta, IVAM Institut Valencià d'Art Modern, Valencia (2019); Acta (dos), Museo Patio Herreriano, Valladolid (2019). His work is present in various museums and collections, such as the Stedelijk Museum. Amsterdam; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museet for Samtidskunst. National Museum of Contemporary Art, Oslo; MoMA Museum of Modern Art, New York; Moderner Kunst Stiftung Ludwig Museum, Vienna; MACBA Museu d'Art Contemporani de Barcelona, Barcelona; Fundación Helga de Alvear, Cáceres; Guggenheim Museum Bilbao; Carnegie Museum of Art, Pittsburgh, among others.
Julia Spínola (Madrid, 1979). Lives and works in Barcelona. She has a degree in Fine Arts from the Complutense University of Madrid and also studied at the Faculty of Fine Arts in Lisbon. She has received several scholarships and awards, such as the DAAD residency (Berlin), the Marcelino Botín 2013 Plastic Arts Scholarship and the El Ojo Crítico Award of Plastic Arts from Radio Nacional de España 2013, Generaciones 2013 (Madrid) and the ARCO 2017 Award from the Community of Madrid. Some of his most recent exhibitions include Dialecto CA2M, CA2M, Madrid (2021); vis., Fundació Miró, Barcelona (2020); Rojamente, Espacio ARTIATX Bilbao (2020); Footnote to a Footnote, Royal Academy of Spain in Rome (2020). His work is in various museums and collections such as the Museo Nacional Centro de Arte Reina Sofía (MNCARS); Fundación Marcelino Botín; Colección de Arte Comunidad de Madrid/CA2; Museo La Panera, Lleida and Fundación Montemadrid/La Casa Encendida, Madrid.
Jorge Satorre (Mexico City, 1979). Lives and works between Mexico City and Bilbao. He has a degree in Graphic Communication Design from the Autonomous Metropolitan University-Azc in Mexico City. He has also taken part in artist residency programmes such as HANGAR, Barcelona; ARP, Irish Museum of Modern Art; Le Pavillon, Palais de Tokyo, Paris; and Gasworks, London. His work has been exhibited individually in several museums and galleries, including: CRAC, Alsace, France; REDCAT, Los Angeles; Museo Tamayo, Mexico City; CarrerasMugica, Bilbao; Galería Labor, Mexico City; Statements, Art Basel; Artspace, Auckland, New Zealand; Le Grand Café, St-Nazaire, France; and FormContent, London, among others. His work can be found in museums and collections such as the Museo Nacional Centro de Arte Reina Sofía and CA2M (Madrid), De Bruijn-Heijn collection (Amsterdam), MUAC, Colección Jumex and Museo Tamayo (Mexico), Fracdes Pays de la Loire and CNAP Centre national des arts plastiques (France). As a curator, he has worked with Erick Beltrán on Modelling Standard, Galería Joan Prats, Barcelona; and, more recently, on Redonda redonda, an exhibition by artist Alberto Peral for Tecla Sala, Barcelona.