http://www.pgacatalunya.com/

foto: BONART cultural

BEYOND THE SCREEN

Think Beyond the Screen. Be free of plug-ins. Think in terms of multiple concepts and strategies to be implemented in all areas in exceptional circumstances and thereby achieve the definition of new realities. To create Beyond the Screen is to question what we are doing, where we are going and how we are going to get there.

Now in it’s seventh edition, Broad.cat International 2011 brings you much more than memorable lectures by some of the best professionals in audiovisual design. These are people who come to share their ideas and visions. It is a meeting place for professionals to take the pulse of what’s going to happen. It is a place where creators connect with the market and the market discovers new talents.

Broad.cat has always strived to be a beacon with which to observe the intricacies that are often ill-defined due to the complexity of this discipline. In each of our on-line articles, our events and our many projects, there is always a spark that exceeds the conventional limits of what we can read into the term audiovisual design. This year’s contents are a clear example.

INTERFACE  project will be presented by Daniel Molina  in this edition of broad.cat

Ferran Adrià is not closing El Bulli, the world’s (ex-) best restaurant, tonight, he is simply “changing, moving on … improving”, a process that involves, erm, closing it. It will reopen as a “creativity centre” in 2014.

Sculpture Material:  Silver

Units: 1/1

This unique sculptural piece called “Impact ” made of silver from the collection “Water Feelings” was acquired by Ferran Adrià. After being exhibited in elBulli, the sculpture will be exposed permanently in the next elBulli Foundation.

When will the Foundation be set up?

At the present time, we are looking at all the legal requirements, but the idea is to set it up in 2013. However, we may be able to conclude this process earlier and consequently start beforehand

After taking the decision to change direction, it became necessary to think about the best way to implement the project. It seemed to us that the most appropriate option was to create a Foundation. For many years, we’ve been extremely fortunate in having the opportunity to do that which fascinates us. Now is the time for us to return something to society.

Why become a Foundation?

To do this, we could have chosen to collaborate with charitable organizations, or contribute funds to NGOs throughout the world. But instead, and always with the intention of contributing to society, we decided to create a project focused on creativity that would support the continued emergence of excellence. In other words, to create talent means to create wealth and jobs and to increase the competitiveness of our sector.

What is the objective of the Foundation?

It has two principal objectives. Firstly, to be the archive of elBullirestaurant, both at a physical level (documents, books, objects, etc.) and a digital level. Secondly, it will be a centre for creativity, with the objective of creating and then sharing ideas and findings through Internet

Will the function of the Foundation be solely to create or also to investigate?

Large-scale historical and scientific and research studies will be carried out in Alicia. The role of elBullifoundation will be to create. In-depth, large-scale monothematic work won’t be undertaken there.

Will the Foundation be a school?

No, the mission of the Foundation will be to create. Important Cookery Schools and Catering Colleges already exist, so our contribution shouldn’t be understood from the perspective of teaching. We can aspire to teach how to think, to help in nurturing the imagination, given that the right attitude and mindset are what allow you to create in a positive and advantageous way.

When will the Creative Centre open?

During 2014. However, a specific date has not been set yet. We cannot say if it will be at the start of the year or in mid-year. Everything depends on the progress of the buildings, the final concept and the organizational model.

Why have a Creative Centre?

Throughout the history of elBulli, changes in the organisation and in its philosophy have occurred frequently. These changes represented very important moments in the evolution of the restaurant: the winter closure, the formation of the workshop (elbullitaller), the cancellation of the standard menu, replacing it with a tasting menu only, the prevision of a single service per day, served in the evening…

The present moment must be understood as a point for further change. We believe that the right way forward is to transform elBulli into a Creative Centre. We consider that the restaurant concept, as understood and developed in elBulli, would constitute the ideal field for experimentation for two or three years more. However, we would need another platform soon. The Creative Centre will allow us to create many different scenarios.

elBulli

associació (art)Catalunya
Presidenta: Carme Espinet

Palau Moja.(Barcelona)

L’Associació Art Catalunya porta “Temps Fugit” al Palau Moja
L’exposició compta amb el suport de l’ICIC

Del 12 de Novembre fins al 26 de gener del 2011 es pot veure al Palau Moja l’exposició Temps Fugit, una mostra de l’art contemporani que es fa a Catalunya, organitzada per l’Associació Art Catalunya i comissariada pel crític d’art Joan Gil Gregorio. 14 galeries participen en l’esdeveniment, que compta amb el suport de l’Institut Català de les Indústries Culturals (ICIC).
Artistes de diferents generacions i disciplines ofereixen un viatge per la representació del temps i la seva incidència en el món artístic. En total, una cinquantena de visions que inclouen l’obra de Salvador Dalí, Antoni Tàpies, Josep Guinovart, Joan Pere Viladecans, Jaume Plensa ,Carme Aliaga o Pere Gifre.
L’Associació Art Catalunya vol reivindicar amb aquesta exposició la força que té el galerisme professional arreu del territori i la convicció que en aquest temps de canvis Catalunya no pot perdre el pes que ha tingut en l’art contemporani tant a nivell nacional com internacional.

Més informació: http://www.artcatalunya.com/

associació (art)catalunya

EXPOSICIÓ: TEMPS FUGIT
ASSOCIACIÓ (ART) CATALUNYA
Comissari: Joan Gil Gregorio

Sala la Nau. Tossa de Mar
Del 24 de setembre al 24 d’octubre de 2010

En un moment com l’actual en el que la creació artística està directament vinculada amb el temps, l’Associació Art Catalunya ha volgut reflexionar envers aquest concepte, produint i presentant l’exposició Temps fugit, en el marc de les activitats que anualment  proposa. El temps com deia Borges no existeix, sinó que forma part del propi ésser humà: “El temps és un foc que em devora, però jo soc el foc”.

El temps i el seu control; l’anhel per aprofitar-lo, assaborir-lo i congelar-lo són desitjos inherents a tota persona. Un anhel que històricament ha tingut múltiples expressions culturals i artístiques, des de les màscares funeràries, les tombes egípcies, els calendaris maies o els vanites barrocs. Tant en la literatura com en l’art el concepte de temps científic es barreja amb el temps subjectiu i interior. D’aquí que la fugacitat del temps hagi estat tractada extensament des de temps remots com ho demostra l’expressió Tempus fugit; una expressió que prové del llatí i que significa “el temps s’escapa” o “el temps vola”, convidant-nos a no perdre’l. L’expressió apareix per primera vegada en els escrits de las Geòrgiques, poemes escrits pel poeta romà Virgili (70 a.C-19 a.C.), amb la frase «Sed fugit interea fugit irreparabile tempus, singula dum capti circumvectamur amore», que es pot traduir com “però mentre fuig, fuig el temps irremissiblement, mentre restem atrapats per l’amor cap als detalls”.

La noció de temps no ha estat percebuda de la mateixa manera al llarg de la història i des de sempre ha estat íntimament relacionada amb la ciència, la tècnica i la antropologia. Les diferents formes en les que el temps es manifesta ha obsessionat als artistes de totes les èpoques i tot i tractar-se d’un concepte molt difícil de copsar, en tot moment han buscat la manera de representar-lo.

L’exposició Temps fugit, comissariada pel crític d’art Joan Gil, es planteja com un viatge per la representació del temps i la incidència sobre el món artístic; una exposició d’artistes contemporanis de diferents generacions que confronta estils, llenguatges, percepcions i emocions amb l’objectiu de mostrar al visitant tots els aspectes de la temporalitat. La mostra proposa un discurs sobre diferents maneres d’entendre el temps a través d’una tria d’obres que giren al voltant de la idea tan humana i tan irreversible com és la caducitat.

L’estructura de la mostra obeeix a un concepte cronològic, i no pas al de tendències o estils. Amb aquest criteri hem volgut traçar un recorregut en el temps a través de diferents generacions d’artistes per veure com ha reflexionat cadascuna d’elles envers el concepte temps, i alhora, com s’hi relacionen. Des del surrealisme de Dalí en el que el triomf dels somnis i dels desitjos dobleguen el control d’aquest temps, passant pels artistes de la Segona Avantguarda que trenquen amb l’art acadèmic per expressar el seu existencialisme més rotund, seguint amb els inquiets artistes nascuts als anys cinquanta i seixanta que fan propostes de tall introspectiu i vital, fins a les noves generacions dels anys 70 que busquen en les noves expressions una manera d’explicar la finitud en una època marcada pel canvi de valors. Així és com els 50 artistes representats teixeixen la seva visió particular de la temporalitat, a través de diferents disciplines com ara la pintura, el dibuix, l’escultura, la fotografia, el vídeo i la instal·lació.

La selecció ha partit dels artistes que treballen amb galeries pertanyents a l’Associació d’Art Catalunya, d’aquí que la selecció tingui com a tret de sortida uns determinats autors contemporanis als que se’ls ha demanat la seva participació amb una peça relacionada amb el tema. Per a completar la mostra, i per tal d’oferir un ventall cronològic més ampli, hem completat la representació amb la inclusió d’alguns autors històrics –especialment sensibles a la transcendència de l’efímer- que ens ajuden a resseguir un fil conductor des dels anys 60 fins a l’actualitat.

ARTISTES, OBRES I GALERIES PARTICIPANTS (Ordre generacional)

Salvador Dalí (Figueres, 1904-1989)
Antoni Tàpies (Barcelona, 1923)
Romà Vallès (Barcelona, 1923)
Albert Ràfols-Casamada (Barcelona,1923-2009)
Manolo Millares (Las Palmas, 1926- Madrid, 1972)
Josep Guinovart (Barcelona, 1927-2007)
M. Assumpció Raventós (Sant Sadurní d’Anoia, Barcelona, 1930)
Joan Hernández Pijoan (Barcelona, 1931-2005)
Jorge Castillo (Pontevedra, 1933)
Josep Vallribera (Juneda, Lleida, 1937)
Teresa Gancedo (León, l 937)
Francesc Artigau (Barcelona, 1940)
Josep Avilés (Gelida, Barcelona, 1942)
Josep Bofill (Barcelona, 1942)
Xavier Medina Campeny (Barcelona, 1943)
Montse Costa (Barcelona, 1943)
Victor Mateo (Tànger, Marroc, 1945)
Bonaventura Anson (Tossa, Girona. 1945)
Joaquim Ureña (Lleida, 1946)
Joan Pere Viladecans (Barcelona, 1948)
Rufino Mesa (Badajoz, 1948)
Anna Miquel (Barcelona, 1949)
José Carlos Balanza (Logroño, 1952)
Xavier Deltell (Barcelona, 1953)
Pep Camps (Sant Llorenç Savall, Barcelona, 1954)
Jaume Plensa (Barcelona, 1955)
Jordi Tolosa (Badalona, Barcelona, 1956)
Rafael Ruz (San Fernando, Cádiz,1956)
Benjamin Torcal (Barcelona, 1959)
Nobuko Kihira (Nagoya, Japó, 1960)
Manuel Pajares (Lleida, 1960.)
Mercè Humedas (Lleida, 1960)
Richard White (Filadèlfia, EEUU, 1961)
Núria Guinovart (Barcelona, 1961)
Pep Fajardo (Barcelona, 1961)
Anna Comellas (Manresa, Barcelona, 1961)
Lluís Ivern (Barcelona, 1962)
Pere de Ribot (Girona, 1962)
Vicent Almar (Gandia, València, 1962 )
Imma Alonso (Barcelona, 1962)
Jaume Amigó (Barcelona, 1963)
Judit Gaset (La Seo d’Urgell, Lleida, 1963)
Neus Colet (Barcelona, 1963)
Natxo Arteta (Madrid, 1965)
J.J. White (Filadèlfia, EEUU, 1966)
Asunción + Guasch
Yolanda Martin (Barcelona, 1968)
Carme Aliaga (Terrassa, Barcelona, 1971)
Pere Gifre (Figueres, Girona, 1974)
Rómulo Royo (Zaragoza, 1976)

Per a més informació:

Carme Espinet (Presidenta). Tel 93 2160614
Joan Gil Gregorio (Comissari exposició) Tel. 607338020

Link catàleg de l’exposició: Catàleg Temps Fugit

PHOTO GALLERY inauguration

Exposició del 18 setembre al 15 d’octubre de 2010

Inauguració: dissabte 18 de setembre a les 7.30 de la tarda.

Espai G d’Art

c./ la palla,10 – 08221 Terrassa (BCN) T 93 780 62 28

www.espaigdart.com

PHOTO GALLERY inauguration

Category: Sculpture (Contest finalist)

Artist: PERE GIFRE

Project manager: DANIEL MOLINA

Partners: Jose María Velasco (AMATRIA Engineering) and Lorenzo Barón (Manufacture Manager)

Place: Transition Hall · Hartsfield-Jackson Atlanta International Airport

This Project, “Wings of Atlanta” has been chosen as one of the five projects selected to submit a large hanging sculpture proposal (23x14x5m) for the Transition Hall site of Atlanta International Airport (USA), the busiest airport in the world over 90 million passengers a year.

I had several objectives when approaching the concept and what it should represent: it had to be avant-garde, surprising, symbolic, easily recognizable, dynamic, interactive and it also had to represent flight as something magical and evoke into the viewer the sensation of freedom, the breaking of barriers and reaching new limits. It had to be internationally symbolic and at the same time represent Atlanta and the United States. I also wanted it to represent the beauty of nature and the fragile environment that we have to protect.

http://www.atlanta-airport.com/

“The wings of Atlanta”

Is it an eagle? Is it a plane? No, it’s… the new sculpture for Atlanta Airport.

This sculpture, for the new Transition Hall, symbolizes a journey towards new frontiers: the representation of an eagle in full flight, passing through clouds of water on its trip around the world.

Conceptual views showing the sculpture within the space designated for its location.

Inferior view of the sculpture. Detail of the central body and the two hoops that surround it.

Conceptual views showing the sculpture within the space designated for its location.

Once…A Bird.

Throughout history birds have been observed by mankind. We have always seen in them something magical and unique: their ability to fly.  Wishing to imitate them, we have always imagined and desired to experience this sensation of freedom. Thanks to aviation this has become possible. With this sculpture, we aim to move people; allowing them to envisage this sensation of freedom and the ability to reach any part of the world within hours…not only by means of a simple method of transport but as something magical. By flying.

An Iconic and International Form. Symbol.

It is very important that the form of the sculpture is iconic for those who see it.  We do not want an abstract, non-identifiable element. We want everybody who passes through the Airport to recognize, remember, and even draw it when they arrive home and describe it to their family or friends.

For this reason we have chosen the figure of a bird – an internationally recognizable form which is also a symbol of freedom, peace and kinship between towns and countries.  This is what we want for Atlanta Airport:  a symbol that unites places and people throughout the world, just as aviation does by bringing them together in a fast, safe and comfortable way.

> From the U.S.A. to the World.

Atlanta Airport is in the United States, and because of this our proposal has to be an international but also very American concept.  Having already stated our reasons for using the form of a bird as the basis for our proposal, we believe that there would be nothing more fitting than the eagle, which is the symbol of the USA. We must also remember that the American eagle was in danger of extinction some years ago. Thus the concept also represents the desire to conserve all things precious.

> A Contemporary Sculpture.

We did not want to make a figurative sculpture that leaves no scope for the imagination. For this reason our design will not be in the shape of a conventional eagle, but one that will transform into an airplane and the patterns that it generates when flying.  All of this will be achieved by using water-based formations to create a contemporary, iconic and avant-garde sculpture.  We aim for the sculpture to make people think, travel, and mainly to imagine.

> Respect for the Environment and Nature.

The sculpture will be a symbol of the environment and respect for nature.  For this reason it has been designed using water formations, because water symbolizes purity, and is the best representation of the world that we want for the future: a clean world without pollution.

Water is also an element that people instinctively recognize and appreciate. For this reason, travelers would naturally feel drawn to the sculpture.

> The Sensation of Flying. Dynamism. Breaking barriers.

In designing the sculpture, we have wanted to go beyond what it conceptually represents. We want the observer to feel that the sculpture is really flying. For this reason we have recreated certain patterns that are generated in the sky with the passage of airplanes, such as the trails that they leave, the vortices generated by the passage of their wings, the vapor from the engines as they cut through the atmosphere in search of new frontiers, and the conoidal shapes that are generated when the sound barrier is broken.

The sculpture accomplishes all of this in such a dynamic form that by observing or photographing it, we have the sensation that we have captured an image in its real flight.

> Interaction with the Traveler.

Passengers would be able to interact with the sculpture both physically and emotionally. Physically because people will be able to see and photograph their own reflections in the chromed sculpture.  Emotionally, because the people who approach it will have just had the experience of flying, or will be about to do so.  The form and the concept of the sculpture will help to enhance their experience: to remind people that flying, as well as being the easiest and safest way to travel, is also something magical and exciting. It will also ensure that their experience of Atlanta Airport itself is totally unforgettable.

We also want the observer to be constantly surprised when seeing the sculpture both for the first time, and as they look at it from different perspectives. This is why, at the back, we have strategically placed the pieces which form the trail left in the wake of the airplane so that they come together to form the shape of the Earth, but which can only be seen from beneath the sculpture.

> CONCEPT DEVELOPMENT / VFX ENGINEERING

We also want the sculpture to be a symbol of the environment and respect for nature.  For this reason it has been designed using water formations, because water symbolizes purity, and is the best representation of the world that we want for the future: a clean world without pollution.

Study of different forms that are generated in the sky by different aircraft during flight.

Study of different forms that are generated in the sky by different aircraft during flight.

Bio-mechanic study of the structure of an eagle and its flight. For the final concept we have chosen the moment indicated, where the eagle glides as it were an airplane.

Processes of simulation of dynamic and fluid systems and that have been used to create the sculpture.  Thanks to these not only have we been able to generate the sculpture but also give it dynamism.

Water pieces are integrated into the whole sculpture. Here, in order to recreate the Earth using water-like forms, it has been divided into separate pieces which have then been transformed by means of fluid simulation.

In order to be able to calculate the viability of the project and also its volume and surface area, we had to adapt the pieces created by means of fluid simulation and dynamic systems, changing them into simpler volumetric pieces that can be recognized by CAD/CAM programs.

General dimensions of the sculpture taking into consideration the space and budget available. These are estimated measurements taken from the calculations made before having carried out a detailed study of the project.

Once the final concept has been designed, this will be carried out by breaking the structure down into simpler masses and dividing them into groups in order to make accurate calculations.

We have divided the sculpture into 6 main groups that will be studied individually in order to analyze them better. This is because the production of the pieces will differ for each group.

In order to carry out a structural study of the grid that will support the sculpture and make accurate calculations we had to adapt the generated volumes to parallelepipeds.

The volumes created in order to calculate the structure will be slightly larger than the authentic ones. In this way we add a safety margin to the structure.

Inferior view of the sculpture in which we can see the different groups that form the overall piece. It must be emphasized that all the groups were created using fluid simulations.

Inferior view of the sculpture and a detailed view of how the set of pieces which form the shape of the Earth will be seen from below.

Inferior view of the sculpture. Detail of the wings and the piece lying below the central body.

Conceptual views showing the sculpture within the space designated for its location.

Conceptual views showing the sculpture within the space designated for its location.

More information:

IKONIC / GIFRE collective -T +34 972 255 753  c.espronceda,12-14. 17480 Roses (Girona) -

info@gifre.com

ART-MADRID 2010. Photo gallery

RT MADRID 2010 REINFORCES ITS COMMITMENT TO CONTEMPORARY ART AND YOUNG ARTISTS.

The Spanish International Fair of Modern and Contemporary Art, Art Madrid celebrates its fifth year from 17 to 21 February 2010, in the Palacio de Cristal at the Casa de Campo in Madrid, with the presence of 65 galleries, selected from among the most prestigious national and international scene. The fair reinforces this edition their commitment to contemporary Spanish art and renews its support for emerging artists and young galleries.

ARCO 2010. Photo gallery. 17-21 FEB 2010

The work on view covers the historical avant-gardes, classic contemporary and emerging art. Around 200 galleries from over 30 countries will be showing paintings, sculpture, installations, photography, video, new media art, drawings, multiples and editions.

Asociación Española de Profesionales del Diseño / Spanish Association of Professional Designers

Catalogue XIII AEPD Design Awards, where the delivery took place on February 10, 2010.

Exhibition: Water for Life ( Program Collective)

Splash sculpture design: Pere Gifre

Structure design: Amatria

Construction – Production design: PQC Temática.

Download Catalogue here.

http://www.aepd.es/

Inaugurated by the President of the Government of Aragon, Marcelino Iglesias Ricou on Oct. 27.

The exhibition is devoted to the design and development processes that were used in the Expo Zaragoza 2008.

http://www.fundaciongoyaenaragon.es/

Photos and information.
Blanca Oro (Goya Foundation)

Sponsored Session – Cooking TV Case Study: Ferran Adrià’s New Trends

The I+D process used in elBulli sculpture collection  (tableware collection) by Gifre, was presented by Ferran Adrià on MIPCOM 2009.

Discover the world renowned Chef Ferran Adrià’s creative career during this special session featuring the History of elBulli restaurant as well as an innovative catalogue where gastronomy and culture are the key words for original content production.

Presenter
Ferran Adrià (Chef, elBulli)

Date: Monday 05-Oct-2009

Start time: 12:45

End time: 13:30

Location: tbc – Cannes.

Introduction INDABA design 2009. 25 Feb 2009 – 27 Feb 2009

The 2009 Design Indaba Conference received an overwhelmingly positive response, being sold out for the fifth year running and attracting more than 2 100 delegates. Confirming its passion for ideas and creative change, the vibrant three-day conference hosted 30 international speakers across a variety of fields – from Ferran Adrià, the world’s best chef, to design activist Bruce Mau, nonsense-machine artist Nobumichi Tosa and product designer Marcel Wanders.

http://www.designindaba.com/

Some pictures from the event in:

Forum Gastronomic de Girona.

Ferran Adrià and Jose Maria Arzak, Tokyo taste.

Official site.

www.tokyotaste.net/en

” Materials and techniques used in art works”

Dr. Pere Molera (University of  Barcelona)

Pere Gifre – VFX engineer

Inaugural conference.

In ArtFutura, Pere Gifre will talk about his involvement in the development of the VFX aspects of “Splash”, and other projects, through the use of programs that simulate the dynamics of fluids.

All images were taken by my friends Adrià Fernández and Laia Gayan.

Enjoy!

SPLASH, sculpture by GIFRE.

(Roger M. Buergel)

When Roger Buergel invited Ferran Adrià, he became the first cook in the history of haute cuisine to participate in Documenta, something that implied to take decisions with no references in sight.
The way that Ferran Adrià has conceived the contextualization of avant-garde cooking into the world of art consists in making elBulli restaurant itself, located in Cala Montjoi, another Documenta pavilion. Any other solution not consisting in experiencing Ferran Adrià’s work at his restaurant betrays the leitmotiv of the invitation. So with this decision taken, the 50 clients that will have dinner at elBulli during the 100 days that Documenta 12 will last will become actual visitors of the exhibition, but not in Kassel, in Cala Montjoi.

From a side perspective, Ferran considers that the intervention itself started with Rogers’ invitation, and includes the reflections and the debate between people related with art and cuisine about the way that cooking can be brought to an exhibition like Documenta.
But how could we connect the visitors of Kassel with the intervention that will take place every day in Cala Montjoi? During the exhibition, the art director of Documenta will choose daily in a random way two persons amongst the visitors of Documenta in Kassel and will offer them the possibility of living the unique experience of having dinner at elBulli. To make it possible we count with the cooperation and the sponsoring of the Rosas City Council, the Costa Brava & Pirineu de Girona Tourist Board and Caixa Girona.
Marta Arzak, Guggenheim Museum of Bilbao Teaching and Performance Assistant Manager, and Josep María Pinto, Ferran Adrià’s collaborator in the making of elBulli General Catalogue, have participated in this intervention.

Friedrichplatz 18, 34117 Kassel Germany
T +49 561 707 27 67, F +49 561 707 27 40
exhibition@documenta.de www.documenta.de

The complete menu that we tasted in elBulli.

OPERA : MAY 2007

Miller Theater at Columbia University.

Vfx animation for the Gaudi musical on BTM Theatre by GIFRE.

Gaudí Musical
Client: Focus – SGAE – CIE
Scenography: Ruiz Geli & Fran Fernandez
Location: Barcelona Musical Theatre (BTM)