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5+5 case

The project 5+5 contemporary works on paper with five painters from China and five painters from Barcelona will be exhibited on 2013. The 5+5 stone lithography case contains ten lithographies, one of each artist, printed at Taller Esquina.

5+5

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5+5

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Barcelona
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The project 5+5 contemporary works on paper with five painters from China and five from Barcelona will be exhibited on 2013. The 5+5 stone lithography case contains ten lithographies, one of each artist, printed at Taller Esquina.

The making of the 5+5 stone lithography case involves a great amount of hours, with the preparation of the stones at the beginning, the drawings, the artist proofs on different papers and follows with the final edition of 30 copies, and the hand made case.

During the months that are needed for the editions, the artists have a closely participation, with the opportunity of exchange opinions, experiment with new techniques and collaborate with each others works.

This process can be seen on this video

The editions are being prepared at Taller Esquina in Barcelona by Maribel Mas, in a french style stone press, using Graphic Chemical and Charbonnel inks to ensure the best quality and endurance of the colors.

The lithographies 5+5 are being printed on 32 x 32 cm papers of different fibers, like cotton-abaca from Molì Paperer de Capellades, cotton Arches Velin or japanese Inshu-washi ganpi, depending on the necessities of each artist to develop her work.

The cases are being elaborated by Àngels Arroyo in her atelier using italian Guarro cotton textile of black and white thread, according to the square format used in the works for the exhibition, with the 5+5 logo on the cover.

The lithographies are being printed between october and december 2012, and will be shown in march 2013 in Fundación Setba and Ars Libris art book fair in Barcelona.

In september 2013 could be seen also on Molì Paperer de Capellades.

Then will travel to Casa Cervantes Pekin and galleries in China that have demonstrated interest in the project.

CONTRIBUTIONS IN VERKAMI
Will allow us to pay the cost of the editions, and in the following years to continue the 5+5 project inviting painters from other countries, to establish a platform of collaboration between artists that develop their works on paper.



5+5 contemporary works on paper group are 杨 舜Yang Shun, 陈子君 Chen Zijun, 候珊瑚Shan Hu Hou, 邱 虹Qiu Hong, 何癸锐He Guirui, 玛丢德 维拉Matilde Vela, 维多利亚 拉宝Victoria Rabal, 罗萨 索兰奴Rosa Solano, 奴丽亚 罗西Núria Rossell, and 玛丽贝尔 马斯Maribel Mas.

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  • Ferran

    Ferran

    over 12 years

    Más q 1 pregunta, 1 comentario lanzado al aire Me parece muy interesante la obra Lástima q el proyecto no tire adelante Creo q ha fallado un poquito la explicación y ajustar los costes de las recompensas o incluso haber propuesto de precio + bajo ;)

Go back to all the updates

#01 / My Fire Enwrapped within my paper

A foreword for 5+5 contemporay works on paper by Pao Pao, 泡泡

If possible, I would like to continue writing line after line until I fill this entire sheet of paper, then onto the next one… in that case, I would attain a projected rhythm and disposition in order to “complete towards a poem”. Rather than writing a foreword or commentary, this is an attempt to approach or capture the aura and spirit of these works on paper, along with these ten artists to stand on paper and sit around in a circle to dream.

Yes, paper is differentiated by raw or aged, characterized differently. Our shared feminine sensibility allow us to meet in the dream of dreams in the myriads of this world, needless to translate, or even speak, we would be able to share these vivid and rare outcomes, sweetness within bitterness, happiness within sorrow.

Whether paper is the medium, or a friend, or the enemy, it allows art to discover the physical existence of desire, arrival and emergence.

For Chen Zijun, these warm color tone acrylic is melting one’s material desire and the body, makes one associate it with the intimacy of childhood, the warmth and distance between people. On a thin paper, everything was transformed. For Matilde Vela, it was between the most rigid metal and the most irresistible paper, like a poetic androgynous being, ruined, minimal and impulsive; Yang Shun has found those crinkled mood and language between papers (parchment paper, handmade paper, and watercolor paper). Her work expands, delimits, floats, in muted silence, temperamental, like the dispersing smoke, or the fluid water; For Maribel Mas, the lithographic traces left on paper are full, its tension are restrained and subdued, as if the artist purposefully prevents the figure to escape from the crevasses of the paper and the lithographic plate; and both Rosa Solano and Victoria Rabal were more inclined to find a place to rest the soul within the objects. Rosa wishes everything returns to emptiness, and to use texture, structure and color blocks to deflect the humility of the heart, the isolation and modesty of the world view; On the other hand, Victoria Rabal who requires every rubbed objects to leave its most vivid figure on paper, to achieve an elegant and noble beauty like the figures and objects by Diego Velasquez, even though the property and functionality of the object has never been completely seen….

Qiu Hong’s world of ink painting seems tender, concise lines and rich colors, brilliantly highlights the beauty of the rice paper, like the Song dynasty verses, short lyrics, coated in dreamy papers, soaked with meaning; in comparison, Hou Shanhu’s ink language tends to be leisurely and meditative. The chaos and hatched beauty expressed through asexual diction in a wide area between rubbing and ink painting, seems to both mesmerizing and controlling of its tension. As for He Kuirui and Nuria Rossell, one paints meditatively to slate knives on paper, and the other patiently repeats and progresses in her details while being immersed with wild passion; one explores within the darkness of the self, and the other tightens every thread within the openness of Carmen;one breathes deeply in the shadow of the world, the other builds a totem of the minute objects within the faded color papers.

Everything, like what the female poet Wang Xiaoni has written long ago,
“Alive between every breath
on my paper
that always enwraps my fire”

Returning to the paper, is also returning to this fire.

Either it’s dim or blazing, I am only one being part of it.

Therefore, what “she” is, has never been, or is only what other’s can perceive.

泡泡

Pao Pao

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#02 / 5+5 La fuerza de la fragilidad

Prólogo de Alex Mitrani

Hay encuentros que son tan felices, tan acertados y fértiles, que nos hacen olvidar su origen azaroso. Esta reunión de artistas se ha producido gracias a los contactos y a las afinidades personales en los cuales es tan importante el reconocimiento de la sensibilidad gemela como la casualidad. De este modo, la vocación y la pasión artística generan aproximaciones sorprendentes como las de estas cinco artistas afincadas en Barcelona y estas cinco artistas chinas. Hay entre ellas una gran distancia geográfica y cultural, pero en nuestra civilización actual de internet estas distancias ya no tienen sentido o tiene un sentido diferente. Una chispa de interés, la constatación de una afinidad sutil, una necesidad de diálogo e intercambio, la curiosidad y la generosidad, han sido los alicientes suficientes para iniciar un trabajo colectivo.

read more

#01 / My Fire Enwrapped within my paper

A foreword for 5+5 contemporay works on paper by Pao Pao, 泡泡

If possible, I would like to continue writing line after line until I fill this entire sheet of paper, then onto the next one… in that case, I would attain a projected rhythm and disposition in order to “complete towards a poem”. Rather than writing a foreword or commentary, this is an attempt to approach or capture the aura and spirit of these works on paper, along with these ten artists to stand on paper and sit around in a circle to dream.

Yes, paper is differentiated by raw or aged, characterized differently. Our shared feminine sensibility allow us to meet in the dream of dreams in the myriads of this world, needless to translate, or even speak, we would be able to share these vivid and rare outcomes, sweetness within bitterness, happiness within sorrow.

Whether paper is the medium, or a friend,

read more
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