Hortensia Herrero Art Centre

Opening 11 November 2023

Valencia, Spain

CAHH -Hortensia Herrero Art Centre Valencia, Spain

Opening 11 November 2023

Artists including:

Georg Baselitz, Tony Cragg, Olafur Eliasson, Andreas Gursky,

Anish Kapoor, Anselm Kiefer or Jaume Plensa

as part of the permanent collection presentation

C. del Mar, 31, 46003 València, Valencia, Spanien

https://www.fundacionhortensiaherrero.org/en/what-we-do/#developing

As one of the first collector-run and privately funded museums of international contemporary art on Spain’s east coast, it is part of the extensive philanthropic work of the Hortensia Herrero Foundation, launched in 2012. The art centre will be housed in the Palacio Valeriola, a 17th century baroque palace, in the historic part of the city. Restored mindful of its architectural heritage, the palace together with a newly built annex, offers more than 3,500 square metres of exhibition space spread over 17 individual exhibition rooms. With the opening of the art centre, Hortensia Herrero’s extensive private art collection becomes accessible to the general public for the first time, including half a dozen large-scale works commissioned specifically for the new art centre.

Georg Baselitz_ Bundel. 2015

Major living artists including Georg Baselitz, Tony Cragg, Olafur Eliasson, Andreas Gursky, Anish Kapoor, Anselm Kiefer or Jaume Plensa will have works on view as part of the permanent collection presentation and a dedicated exhibition space will show the works of local artists set in relation to the latest international art trends.

MISSION

Culture has been with us for hundreds of thousands of years. Talk about who we were. It is the most valuable legacy we have left. For this reason, at the Hortensia Herrero Foundation we promote social actions that help share sensitivity, using art and culture as an example, and as a way of turning the Valencian Community into a cultural reference.

VISION

At the Hortensia Herrero Foundation, our objective is to promote interest, knowledge and sensitivity for art and culture through projects created in the Valencian Community by artists from all over the world.

PATRONAGE

patron-presidentDª Hortensia Mª HerreroPatron-Vice PresidentJuan RoigNon-employer secretaryFrancisco BareaVowelsAmparo RoigHortensia RoigJuana RoigCarolina Roig

HORTENSIA HERRERO

Presidenta de la Fundación Hortensia Herrero y Vicepresidenta de Mercadona

PRESIDENT’S MESSAGE

Machado used to say that when you walk you make your way and when you look back you see the path that you never have to tread again. And that is what this Report that we are now publishing consists of: looking back and seeing that path littered with initiatives and cultural events that we will never tread again but that will always remain in our memory.

Many times, in the speeches that I have to give at various events organized by the Foundation, I usually use the family as a simile for some of the projects that we inaugurate, and now that I look back, I see that these projects are like family members who are always present, in a more or less active way, and to whom new members come to join.

For example, in 2017 we organized the exhibition of monumental sculptures by Manolo Valdés in the City of Arts and Sciences, which was so well received in the city of Valencia and which resulted in the donation of the sculpture La Pamela, already installed in the area of The marine. The success of this initiative was such that in 2018, we decided to temporarily transfer two of these sculptures to the cities of Castellón and Alicante, so that both the people of Castellón and Alicante could also enjoy the beauty of the works that we could consider without any doubt. as the most international contemporary Valencian artist. These sculptures were so well received in these two cities that I made the decision to also donate them so that they would remain permanently in Castellón and Alicante.

With this, we have achieved that the three capitals of the Valencian Community can enjoy a monumental sculpture as cities such as New York, Paris or Madrid already do. With which, Valdés also accompanied us during the past year as one more member of this broad family that is the Hortensia Herrero Foundation.

Given the success of the Valdés exhibition at the City of Arts and Sciences, it was not easy to find someone to take over in this impressive place characterized by Calatrava’s architecture. That is why we turned to one of the most prestigious international sculptors, Tony Cragg. An artist who was already present in my collection through two sculptures but who, on this occasion, was going to exhibit six monumental sculptures at the same time that he was doing it on Park Avenue in New York. And it is that, as I have repeated so many times, one of the purposes that guides the activity of the Foundation is that Valencians do not have to go to cities like New York, Paris or London to see high-level art exhibitions, but Valencia host an artistic offer of the same level as these capitals.

Something that will also guide the activity of one of the projects that began in 2018 and in which we are going to put the most enthusiasm: the rehabilitation of the Valeriola Palace to turn it into the Hortensia Herrero Art Center, where you can see both my art collection and temporary exhibitions by artists of great international prestige. A very long-term project that has already begun to take its steps and that in a few years will open its doors to the public to further enrich the wide cultural offer of the city of Valencia.

A new son who comes to join that large family that we have created around the Hortensia Herrero Foundation, and in which there are some initiatives that have already been held for more than five uninterrupted editions, such as Ballet Vale +, which helps through dance to children with cerebral palsy; the Valencia Dance gala at the Palau de les Arts, the ballet campus that already has 135 students, the PAM! of artistic and multimedia productions organized with the Universitat Politècnica de València or the acquisition prize of the Abierto València contest with which the Valencian art galleries begin the season. All initiatives that lead to sharing and developing cultural sensitivity.

These are projects that are consolidated in the calendar but that grow every year in the number of attendees and that, in the case of the exhibitions of monumental sculptures that we have developed in the City of Arts and Sciences, enrich the artistic heritage of the city. Proof of this is the impressive sculpture by Tony Cragg entitled “Points of view” that came to Valencia for the temporary exhibition and has finally remained permanently on the Monteolivete bridge.

From here I would like to thank all the Valencians who have come to enjoy these initiatives and those who have made them possible because, as indicated by the title of Cragg’s sculpture, «Points of view», a Such a wide and varied task can only be carried out with the collaboration of very different points of view.

The photos of the violent policemen on the wall of shame

Respect to the organizers of the protest for publishing the photos of the violent policemen on the wall of shame. A violent cop should be inside! And to all the fascists who shout ‘we are brothers’ – you were not and never will be brothers. Not even remotely close. Police photo credit: ‘Maariv’

I’m sad

Sanity was lost here a long time ago

Whoever fights for his life is considered a criminal

And whoever is the head of the mafia is considered the law

Moran Asraf

Hi Bibi. . the truth? It’s strange to call you Bibi….. strange because all the years I was your shadow I wasn’t allowed to address you by your first name….. remember me? Nir Adan…. Nir Adan No?……Maybe try to concentrate, still nothing?….(must read to the end.- t.h)…. I was one of those who were ready to lose their lives for you. I was one of those who went through aggressive courses in the Shin Bet to change the human instinct and jump on you, protect you with my body when your life is in danger. still don’t remember? I am one of those whom you and many others called “the salt of the earth”. Well, of those who formed an army, of those who buried friends, of those who followed you “blind”. is nothing? still nothing? I’m the one who once aggressively neutralized a person who wanted to express a protest at a Likud conference, I’m the one who stood countless hours outside your house, in winter, summer, on Saturdays and holidays. We traveled the world together, you and I…I always sat in the front and you…in the back, I would open the door for you every morning good morning. I’m the one who was the fly on the wall in meetings at the White House, in the pit in Kirya, and in other strange places… I’m the one who was ready to kill. On your behalf. For your sake. Is the memory starting to come back? no huh? I’m the one who knows the Balfour house better than my own, I’m the one who always stood by your right shoulder and I’m the one whose left ear always heard too much. (because an earpiece was stuck on the right) I am the one I would be proud to protect. I’m the one who was brainwashed. I’m the one who traveled with you in the big world, the one who went with you in demonstrations and I’m also the one who can’t explain to my children why I did it. You won’t remember me. I’m not important to you. Only you are important to you. So guess what? Yesterday I came to visit you, yes yes, in Balfour. I am the one who, if you wake him up in the middle of the night, will know in 37 seconds to reach every house in the vicinity in extreme poverty, The one who chose to defend democracy. I’m the one who knows the martial theory you invented. The one who knows the shtick you do. I am the one who heard the voices of despair of our people yesterday both in the left demonstration and in the right demonstration from the other side of the street. I am the one who was beaten yesterday by the police just because I came to exercise my basic democratic right in Jerusalem. I am the one who hijacked a stream of water with an unreasonable force from an extreme measure to disperse demonstrations simply because the police, our political summoner, do not have the ability to contain. And you Bibi? You didn’t even come out to say hello, or sorry, or thank you. you were afraid But hear something, I felt you, I knew you were sitting in that favorite chair of yours on the patio in Balfour and listening. and moved uneasily. I am also the one whose grandfather, Abraham Aden “Baran”, hung the ink flag with his friends at Umm Resh Resh in 1949. The one whose uncle was Minister of Finance Yitzhak Modai. The one that his father, Omar Aden, commanded fighter squadrons in the Air Force. The one that his brothers and sisters served and were wounded in the army. And today? Today you don’t remember anymore. Not my friends, not my brothers and sisters, not my uncle, not my father and not my grandfather, certainly not me. But I do! I remember. And today, I am the one who is ashamed. I’m the one who’s sad. I look into the eyes of my two sons and do not know how to answer their worried looks. I thought it would be right to suggest that you take a moment to read the Declaration of Independence, it has a paragraph about the vision of the State of Israel, if you forgot then here is the quoted passage, didn’t I touch it? “The State of Israel will be open to Jewish aliyah and kibbutzim; Focus on the development of the country for the benefit of all its inhabitants; It will be founded on the foundations of freedom, justice and peace in the light of the vision of the prophets of Israel; Maintain complete equality of social and political rights for all its citizens without distinction of religion, race and gender; guarantee freedom of religion, conscience, language, education and culture; Protect the holy places of all religions” (end quote) Remember Bibi? Remember those words? I really hope so because you swear allegiance to strive for them, you swear to lead your partners and strive for the realization of the vision. Do you even know the vision? Maybe you’d better refresh their memory, even those without the bag (of money). So maybe now you remember, And maybe you’re trying to forget. The people are divided Bibi. And you are disconnected, like the business government you put together with your pet doll. Listen to what I’m telling you. I felt it yesterday when I came to visit you at your home in Balfour. I think it’s time to go home, give us a heart

Amitai

Amitai, That’s My Boy.

The commander of the HSM, Sen. Yair Hanuna should be prosecuted for assault and wounding and at the same time civil lawsuits should be filed against him. Sen. Yair Hanuna was recorded four months ago strangling a protester while chained to the floor. Or Ravid, an N12 reporter, reports that “Deputy Chief Yair Hanuna, who was recorded punching an 18-year-old protester against the legal revolution at a protest in Ayalon, beat other protesters until they drew blood in previous demonstrations – according to a complaint submitted a few weeks ago to the police. According to evidence, at a demonstration held in Nativ Ayalon about two weeks ago, Sen. Hanuna broke the nose of a protester “after he was arrested and slammed to the floor.” The Israel Defense Forces confirm that they have opened an investigation into the case. It is a shame that such a violent and violent man serves in the Israel Police. It is mandatory to document his violence at every demonstration that takes place and submit complaints against him to the Israel Defense Forces and sue him civilly. Photo credit: Social Network. I would love to give credit to whoever took the picture.

Yair Hanuna! Shame that such a violent thug serves in the Israel Police

Ifat Brilliant

That’s My Boy.

He is a little over 18 years old. Stopped tonight in Ayalon. He didn’t do too much. Didn’t riot, didn’t curse. He demonstrated for democracy. After they handcuffed him, they took him aside and beat him. Enlarge the image. She is shocking. The “charming” policeman you see in the picture punches him in the face, also whispering to him the whole way that he will rape his mother. After Amitai asked another policeman for water. The policeman lifted him in the air and threw him on the floor. Beat him again.

I am proud of my son.

Because it is not enough to hold it on two sides.

Amitai

Policeman Face say Everything! of the #Israel #Crime #sick #police

And that’s how the police saved my child

So let’s all stop the protest. Let’s allow our wonderful leadership to allow wonderful people like Haim Bobalil and Yair Hanuna, commander of the Tel Aviv Police Station, to save our child and all of us. How can we be so ungrateful? Pay attention to the heroic moment. On the left side the menacing Makhthezit Watergun

Photographed (really bravely) by Neta Sidi

Three policemen pounced on my brother without him doing anything, on Ayalon’s side, he didn’t block anything. He even turned to go, then they punched him in the stomach, in the face, beat him, dragged him on the road, handcuffed him and took him to the police in Jaffa handcuffed, why? mere! Because now they are allowed. After today everything is allowed to them! He is in a shelter receiving treatment. I have no words, I feel like I got punched in the stomach.

by Ifat Kariv

One young man. No one attacks. not threatening Hands up in a universal sign of surrender. There is no doubt. Now look what six thugs, who probably don’t just stay with their helmets, do to him. There is no tax, there is nothing. It’s nothing compared to what’s to come. Here, decades of occupation were skipped over crossing the green line. This is just the beginning.

HumanHandMade

Uri is calling me right now, a protester who was arrested for Ayalon on 7/11 and arrived for questioning at the station, in exactly the condition you see in the photo I took. After he was arrested and thrown to the floor, a YSM police officer from Medul pressed his knee on Uri’s head, who was facing the road. From the force of the pressure of the knee on the head, Uri’s nose broke. Uri tells me that the same policeman who brutally broke his nose when he was already handcuffed and lying on the road, is none other than Sen. Yair Hannona, commander of the YSM, who of course did not skip the stage of “I will kill you, I will finish you”, And when Uri asked for medical treatment, Hanona answered “Medical treatment for my daughter”. Uri filed a complaint with the Ministry of Justice, and allowed me to publish his picture, with a broken nose and drinking blood. I have a feeling that a daily geek corner is starting here. Do not be afraid of human beings who have been given weapons and the authority to use force. Continue to demonstrate and fight, an array that surrounds the protestors gives you their back, at no financial cost. Until the victory ❤️💪🏾❤️ Please share so that more protestors will be exposed and will not be afraid to complain at the police station 🙏🏾

bit.ly/3OpSWfC

Haim Bobalil and Yair Hanuna, commander of YSM

https://www.maariv.co.il/news/politics/Article-1026239

JEWISH-MUSEUM.RU

Jewish Museum and Tolerance Center

LEV BORODULIN Predicting the Moment

Лев Бородулин. Предугадать момент

Opening: 2 August 2023 | 19 pm

100 years since Borodulin’s birth

organized by the Jewish Museum and NATIV – Israeli Cultural Center,

Embassy of the State of Israel in the Russian Federation.

Curated by Maya Katznelson and Maria Gadas.

Exhibition: 3 August – 17 November 2023

Opening hours

Sunday — Thursday: 12 p.m.—10 p.m.

Saturday: 6 p.m.–11 p.m.

Moscow, Obraztsova Street, 11, building 1A

(entrance from Novosushchevsky Lane)

MOCKBA, yn. O5PA3LOBA, 11, CTPOEHNE 1A

https://www.jewish-museum.ru/en/exhibitions/lev-borodulin-predicting-the-moment/

Photo: Alexander Borodulin. ‘Portrait of Lev Borodulin’. Moscow, 1964, Borodulin Collection

From August 3 to November 17, 2023, the Jewish Museum and Tolerance Center will host an exhibition celebrating the life and career of the legendary sports photographer Lev Borodulin. The show marking 100 years since Borodulin’s birth is organized by the Jewish Museum and NATIV – Israeli Cultural Center, Embassy of the State of Israel in the Russian Federation.

The exhibition is divided into five parts, each of which covers various periods of Lev Borodulin’s oeuvre: from his early works and development of his trademark style to iconic sports photographs and the documentary pictures he took after moving to Israel.

A world-famous photographer and a recipient of an Olympic gold medal for his achievements in sports photography, Lev Borodulin truly revolutionized his art. He entered Moscow Polygraphic Institute shortly after World War II broke out; in 1941, having studied for just a year, he was sent to the frontlines. He was eventually awarded medals “For the Defence of Moscow” and “For the Capture of Berlin” and completed his studies after returning from the war. Years later, Borodulin became one of the leading photographers at Ogonyok, the USSR’s most influential magazine.

His picture from the 1960 Summer Olympics that was featured on the cover of the magazine came under fire from Soviet statesman Mikhail Suslov. Titled From a Platform, the photograph depicts a female diver from behind as she plunges into the water. The photo was criticized as indecent and lacking real substance. Borodulin was accused of formalism; however, that label earned him a reputation as an avant-garde artist, which helped further his career during Khrushchev’s Thaw era.

In 1973, Borodulin moved to Israel. He kept taking pictures at sporting events while also photographing Israel’s everyday life. Just like during his life in the Soviet Union, Borodulin traveled a lot, capturing his experiences on film.

Lev Borodulin’s photographs have been put up for sale by international auction houses Sotheby’s and Christie’s; he was described as “a star” of international photography by the 1964 Photography Year Book; in 1967, the Japanese newspaper Asahi named him the photographer of the year; and in 1971, he was awarded an Olympic gold medal for his achievements in sports photography.
Lev Borodulin was also one of the first photography collectors. His collection is considered to be one of the largest private collections of Soviet photography, containing pictures by the likes of Alexander Rodchenko, Boris Ignatovich, Yevgeny Khaldei and more.

The exhibition is curated by Maya Katznelson and Maria Gadas.

Co-organizers of the exhibition:

Fondazione Prada Milano

PARAVENTI: SCREENS

FOLDING SCREENS FROM THE 17TH TO 21ST CENTURIES

“Coromandel” screen, China, late 18th century, Western pine wood. 284 x 624 x 2 cm, Calouste Gulbenkian Museum, Lisbon, Portugal, © Calouste Gulbenkian Foundation, Lisbon – Calouste Gulbenkian Museum, Photo: Carlos Azevedo

Press preview: Wednesday, 25 October 2023.

Curated by Nicholas Cullinan

Exhibited artists:

Alvar Aalto, Carla Accardi, Kai Althoff, Atelier E.B (Beca Lipscombe & Lucy McKenzie), Kamrooz Aram, Francis Bacon, Giacomo Balla, Hernan Bas, Carol Bove, Lisa Brice, Marc-Camille Chaimowicz, Tony Cokes, William N. Copley, Pedro de Villegas, Alessandro Di Pietro, Jim Dine, Peter Doig, Marlene Dumas, Charles and Ray Eames, Elmgreen & Dragset, Cao Fei, Isa Genzken, Duncan Grant, Eileen Gray, Wade Guyton, Kenneth Halliwell, Anthea Hamilton, Mona Hatoum, David Hockney, Josef Hoffmann, Pierre Jeanneret, Joan Jonas, William Kentridge, Yves Klein, Le Corbusier, Sol LeWitt, Shuang Li, Goshka Macuga, René Magritte, Kerry James Marshall, Takesada Matsutani, Małgorzata Mirga-Tas, William Morris and Elizabeth Burden, Chris Ofili, Laura Owens, Lê Phổ, Pablo Picasso, Jean Prouvé, Man Ray, Ed Ruscha, Betye Saar, Watanabe Shikō, Tiffany Sia, Francesco Simeti, Lorna Simpson, John Stezaker, Keiichi Tanaami, Wu Tsang, Luc Tuymans, Cy Twombly, Francesco Vezzoli, Carrie Mae Weems, Franz West, T. J. Wilcox, Chen Zhifo.

The exhibition project conceived by the SANAA architecture studio

Exhibition: 26.10.2023 – 26.2.2024

LARGO ISARCO, 2, 20139 MILAN

http://www.fondazioneprada.org/project/paraventi/

5_Fondazione Prada_Paraventi.

26 Oct 2023 – 26 Feb 2024

“Paraventi: Folding Screens from the 17th to 21st Centuries” is the extensive exhibition that investigates the historical legacy and contemporary interpretations of folding screens in oriental contexts.

Curated by Nicholas Cullinan, the exhibition investigates the history and interprets the meanings of these objects, retracing the trajectories of reciprocal contaminations between East and West, the processes of hybridization between different art forms and functions, the collaborations between designers and artists and, finally, the creation of unpublished works. The screens represent the concept of liminality and the threshold between two conditions, literally and metaphorically, as they cross the barriers between different disciplines, cultures and worlds.

As Nicholas Cullinan explains, “Painting or sculpture? Art or furnishing accessory? Utilitarian or ornamental element? Decorative, functional, architectural or theatrical? This exhibition examines with an innovative approach the questions and paradoxes surrounding the history of screens, a history of cultural migration (from East to West), of hybridization (between different art forms and functions) and of what is hidden and revealed . 

Curator Nicholas Cullinan Photo Zoe Law

Our research will reveal how this history and its manifestation in the present coincide with the history of liminal objects and liminality itself, in a process of overcoming the rigid distinctions and hierarchies between the different disciplines of art and architecture, decoration of ‘interiors and design”.

The exhibition project conceived by the SANAA architecture studio brings together over seventy screens in the spaces of the Podium. Included here are both works of great historical value and more recent works from international museums and private collections, as well as a selection of new creations specially commissioned for this project from more than fifteen international artists.

On the ground floor of the Podium, curvilinear and transparent Plexiglas walls, alternating with sinuous line curtains, evoke the shapes of these objects, creating a series of spaces characterized by different lighting conditions. Within these environments, visitors meet the various thematic groups and are confronted with a fluid exhibition itinerary thanks to the transparency of the dividing structures. Upstairs, the display represents the entire history of screens, presented in chronological order and arranged on shaped pedestals that will emphasize their shapes, in homage to the innovative museum displays of the MASP in San Paolo, created by Lina Bo Bardi, and to the work by SANAA for the Louvre-Lens museum.

http://www.fondazioneprada.org/project/paraventi/