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Summer Lodge 2017

During the first two weeks of July I’ve been doing The Summer Lodge Residency at Nottingham Trent University. This residency functions as a collective space in which to undertake experiments, pursue new ideas and allow unexpected leaps of imagination. NTU Fine Art staff, other artists, and student studio assistants compose the group.

I’ve used The Summer Lodge to work in my exhibition at Centro Cultural Montehermoso in Vitoria-Gasteiz, which will take place next year.

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Conference presentation

In June 2017 I’ve presented part of my work Volver, Ver, Mover at the conference Postcards from the Anthropocene, Unsettling the Geopolitics of Representation, organised by the School of Architecture and Landscape Architecture at University of Edinburgh.

This conference, composed also by an exhibition, reflected upon how the emergence of the Anthropocene might transform how we think about representation, and more specifically geopolitics and the different types of representations that carry significant material, metaphorical and methodological implications in regard to it.

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Residency at Bilbaoarte

This summer I am a resident artist at Bilbaoarte, an artistic production centre belonging to the Culture Department of the Bilbao City Council. I am working in the project ‘Moving Stones’ that investigates materiality, bodies and photographs as a learning device through the specific case of stone-lifting, a traditional sport in the region. The resulting works will be exhibited next year in Spain and UK.

Here is some information on the project I will undertake in Spanish

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Rehearsing Memory, Belton, 2015

Commission by The National Trust to develop a project in collaboration with the artist Rebecca Lee for Belton House.

Launch October 2015

This project explores how commemoration is an ongoing and active process through developing new works from research and conversations with the Belton House community. The project will reflect on the facts, context and details of the Machine Gun Corps on Belton’s parkland as well as how the stories, people and meaning of these events are commemorated and remembered at Belton in the present. The resulting works will be a series of audio-visual and printed pieces that will be presented in different spaces at Belton House, the parkland and beyond. They will encourage reflection not only on the Machine Gun Corps but on how we fabricate memories in the present.

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Care + Attend

Curated by Emma Cocker and Joanne Lee, Part of Unconditional Love,

The Society for Artistic Research Spring Event

Care + Attend comprises a constellation of fragments and extracts – of different intensities and durations – where the exposition of research emerges as a poetic and performative event, generating moments of potential resonance and dialogue. This event explores the theme Unconditional Love through the principles (perhaps even methodologies) of care and attention, as applied within specific (artistic) practices of both the everyday and of the self. Beginning with the observation that both curate and curiosity have shared etymology in the term ‘care’, Care + Attend seeks to develop a research vocabulary based on receptivity, openness, fidelity, integrity, intimacy, friendship and commitment (whilst not ignoring the parallel principles of distraction, inattention, the act of closing one’s eyes or of looking away). Cocker and Lee have invited a range of artists & writers to share and reflect on their own processes, philosophies and politics of care and attention, and to present these through live performance, screenings and spoken word. Contributors include Kate Briggs, Daniela Cascella, Belén Cerezo, Emma Cocker, Steve Dutton + Neil Webb, Victoria Gray, Rob Flint, Mark Leahy, Joanne Lee, Martin Lewis, Sarat Maharaj, Brigid McLeer, Hester Reeve, and Lisa Watts.

Care + Attend is part of a 2 day event entitled Unconditional Love organised by The Society for Artistic Research Spring Event taking place 30 April – 1 May 2015 at Chelsea College of the Arts / University of the Arts London.

Central to this event is the notion of unconditional love, which could mean a commitment to the dynamics of open and engaged exchange, or an obsessive pursuit of the unattainable.

The full programme can be found here: http://www.societyforartisticresearch.org/fileadmin/autoren/pdf/unconditional_love.pdf

Prices and registration details can be found here: tinyurl.com/oh2aqdq

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Inmersiones 2014 RE(iN)SISTENCIA

Participación en el  Congreso Re(in)sistencia.

13 de Diciembre del 2014, Ortzai Teatro, Vitoria-Gasteiz.

Presentaciones y mesa redonda: Zirika, Colectivo Santxez, KMB, Sandra Amutxastegi, Belén Cerezo, Monika Lukin, Taxio Ardanaz, Be.ARR, Onintza Etxebeste/Iker Iñurrieta/Amaia Asategi, Leyre Goikoetxea, Elisa Arteta, Daniela de la Fuente

Modera: Iker Fidalgo

Organiza: Inmersiones

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Appropriated Instructions
Appropriated Instructions, photos by Belen Cerezo and Danica Maier

Appropriated Instructions, photos by Belen Cerezo and Danica Maier

Bélen Cerezo, Rebecca Lee, Geoff Diego Litherland, Eva Marín and Rosario Montero are presenting work with the Broadcaster project in Lincolnshire. In the project, entitled Appropriated Instructions, the artists will explore the concept of instruction and examine its potential for giving us new understandings of our daily lives and routines. Can some very everyday instructions become a creative tactic to intervene or navigate in the everyday? Can a so connoted exhibiting space as a church board offer any room to present rules as a form of disruption?

The Broadcaster project consists of two permanent notice boards located outside converted Chapels in villages in rural Lincolnshire; Waddington and Wellingore. Each notice board is a venue for exhibitions curated by the Postmethodists.

Appropriated Instructions involves five artists whose work includes sound, photography, painting and performance. Initial individual ideas will be developed, challenged and distilled through conversation, collaborative workshops and visits together to the area.

Appropriated Instructions runs from 23 March – 23 September 2013, with content that changes once a month. The programme will include activities like walks, or other events facilitated by the artists to generate further connections and engagement opportunities beyond the boards themselves.

Read more about Appropriated Instructions on the website:
http://appropriatedinstructions.wordpress.com

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La casa que habito
La casa que habito, Galería Adora Calvo, Salamanca, 2013. Photo: Araceli Corbo

La casa que habito, Galería Adora Calvo, Salamanca, 2013. Photo: Araceli Corbo

La casa que habito es una exposición colectiva en la que participan Belén Cerezo, Aurora Sacristán, Carmen González y Mónica de Miguel comisariada por Araceli Corbo en la Galería Adora Calvo, Salamanca, en colaboración con el Festival Miradas de Mujeres 2013. La exposición se puede visitar del 2 de marzo al 13 de abril.

La casa que habito es una exposición inspirada en las Femmes Maison (Mujeres-Casa) de la artista francesa Louise Bourgeois, figuras femeninas formadas parcialmente por casas. Estas imágenes generan un impacto visual y remueven al espectador para hacerle reflexionar sobre la condición social de las mujeres y su asignación al territorio doméstico.

Esta relación entre lo público y lo privado desde una perspectiva de género, ha generado un debate que no parece finalizar y donde las mujeres a menudo son las que tienen que marcar las diferencias, ofrecer las reflexiones y comunicar avances con respecto a una problemática de suma importancia, ya que están en juego valores de género en torno a las divisiones espaciales y derechos sociales.

Planteamientos popularmente conocidos como: lo doméstico y la esfera social, el trabajo exterior frente al interior, son cuestiones que pueden marcar diferencias en la situación de la mujer en el mundo actual. Los valores de género son un producto del entorno social y de la educación, más que de la naturaleza y de la interacción con los demás, que nos sirven para definir nuestra identidad. Es lógico, por tanto, que muchas mujeres trabajen en sus proyectos artísticos y reflexionen de manera crítica sobre el ámbito doméstico y el privado, la casa y los roles que ha desarrollado habitualmente la mujer en dicho espacio. Eso es lo que se plantea en esta exposición, no es tanto una referencia explícita a cuestiones de género, como una muestra que recoge diferentes acercamientos por parte de cuatro artistas a la idea de la casa como arquitectura, refugio, cuerpo, prisión, aislamiento, seguridad, identidad, sueño y reclusión.

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Series Made In has been published in Contrahilo accompanied by a text written by the Chilean sociologist Tomás Ariztia, in this text titled The journey of things Ariztia has reflected through this series on globalisation and its relationship to fashion.

Contrahilo came into existence as a response, a space of resistance, a place to reflect, in which the temporality, the consumption, and the ephemeral nature of fashion as a market, become diluted. Contrahilo looks for a reflection regarding the process, the relationships and tensions that arise in the broad spectrum that fashion inhabits; from the image, the politics, the power and poetics that arise around it, to the dressmaking process and the use of the garment. Contrahilo wants to reach beyond the limits imposed by the discipline and analyse fashion in a broad sense, inviting various characters of the social structure to join us and reflect with us.

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The photobook Somewhere Better, Nowhere Better that I self-published in 2009 is part of the show organised by Brighton Photography Biennial and Photobook Show.

As part of its fifth edition, the Brighton Photo Biennial 2012 invited the submission of self-published, handmade or short run photography books, to be included as part of a photobook Exhibition at Brighton’s Jubilee Library throughout the Biennial (6 October – 4 November 2012) in collaboration with Photobook Show. The books relate to the Biennial’s theme: Agents of Change: Photography and the Politics of Space.

Image: © Johannes Romppanen (Photobook Show).

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MUSAC, La metodología del proyecto/ MUSAC, The methodology of the project

Desde el 23 de Junio al 9 de Septiembre del 2012 se puede visitar la exposición La metodología del proyecto en el MUSAC, Museo de Arte Contemporáneo de Castilla y LeónEsta exposición muestra los proyectos artísticos en curso surgidos a partir de un taller dirigido por el artista Antoni Muntadas en colaboración con Alfredo Puente en MUSAC entre enero y junio de 2012.

El MUSAC ha editado una publicación que recoge los diferentes proyectos planteados. Podeis acceder a la publicación aquí. Mi texto se titula Hacia unas imágenes nómadas del territorio.

From 23rd June to 9th September 2012 you can visit the exhibition The methodology of the project at the MUSAC, Museo de Arte Contemporáneo de Castilla y León. This exhibition shows the ongoing artistic projects resulted from a workshop conducted by the artist Antoni Muntadas in collaboration with  Alfredo Puente in MUSAC from January to June 2012.

MUSAC has edited a publication with the different projects. Here is the publication and this is a link to the English version of this text Towards some nomadic images of the territory.

El territorio entre las imágenes, León, 2012, Nottingham Trent University, Junio 2012.

El territorio entre las imágenes, León, 2012 es una instalación audiovisual en cuatro canales que muestra imágenes del territorio rural de la provincia de León. En este enlace podéis ver los vídeos.

The territory between the images, Leon, 2012  is an audiovisual installation with has four channels that show the rural terrotiy of Leon. Here you can watch the videos.

EL TERRITORIO ENTRE LAS IMAGENES, LEON/ THE TERRITORY BETWEEN THE IMAGES, LEON, 2012 from belencia on Vimeo.

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Presentación del libro fotográfico “Somewhere Better, Nowhere Better” de Belén Cerezo.

Presenta el libro la comisaria Izaskun Etxebarria

Librería PANTA RHEI, Calle Hernan Cortés 7, Madrid, METRO Tribunal

Viernes 19 de Febrero a las 19:30

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#11  I HATE CONSUMISMO
ON-LINE NOW
10×15   FANZINE
Algunas de mis fotografías de la serie MADE IN se han publicado en el fanzine online 10por15.
A echarle un vistazo!!!
Some photos of my series MADE IN have been published in this online fanzine 10por15.
Have a look!!!
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El libro está a la venta en la librería de La Fábrica (Verónica 13), en la librería La Central del Museo Reina Sofía (Rda. de Atocha 2) y en Panta Rhei (Hernán Cortés, 7) en Madrid, en la Librería Ras (Calle Doctor Dou 10) y en Loring Art, (Calle Gravina 8) en Barcelona. También lo puedes encontrar en Zalacaín y Estudio en Miranda de Ebro,  en Zuloa en Vitoria-Gasteiz y en Anti- en Bilbao.

SOMEWHERE BETTER, NOWHERE BETTER recoge mis inquietudes por aspectos económicos y sociales que considero relevantes en mi entorno inmediato. Son aspectos universales que en su dimensión local toman cuerpo a través de la fotografía. Mi análisis a través de este medio hace que incluso la propia naturaleza del mismo así como sus usos se conviertan en objeto de estudio.

Por todo ello, se presentan varias series que tratan temas en apariencia inconexos que sin embargo intentan dar luz a una imagen del mundo desde la fotografía y con ella como excusa narrativa. SOMEWHERE BETTER, NOWHERE BETTER es una polifonía en la que aparecen distintos temas: la globalización versus las fronteras territoriales, el consumo y, en este nuevo contexto, de qué manera son, los usos sociales de la imagen fotográfica. Cada uno de estos temas se trata de manera independiente en una serie de fotografías con distintos elementos, espacios y lugares.

SOMEWHERE BETTER, NOWHERE BETTER collects my concerns about economic and social aspects that I consider to be relevant in my immediate environment. These are universal issues, however, when they are photographed in their local environment as an object of study, they take on a different meaning.

The different series that are presented in the book deal with topics that at first glance may seem unconnected, however, they try to illuminate an image of the world in a narrative sense through the medium of photography. SOMEWHERE BETTER, NOWHERE BETTER is a polyphony in which different topics appear; globalization verses territorial borders, consumerism as a meta-narrative verses individual personalized narratives and how social uses of photography can uncover these diametrically opposed stances. Each of these topics is explored using photography featuring different elements, spaces and places.

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SOMEWHERE BETTER, NOWHERE BETTER, the Printing Process

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