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“Refugium, Refugia” at MuME – Museu Memorial de l’Exili

1939-2019, 80th anniversary of La Retirada.

On November 9th, 2019 opens “Refugium, refugia” at MuME – Museu Memorial de l’Exili (Spain).

Exhibition on Saturday, November 9, 2019 until Sunday, February 2, 2020.

Opening Saturday, November 9 at 12 noon

Museu Memorial de l’Exili, c/Major, 43-47, 17700 – La Jonquera (Spain)
+ info:
www.museuexili.cat

The work exhibited here – mostly carried out between 2013 and 2016 – emerged from the rubble of the camp, which acted as both executioner and witness of the horror of the Nazi deportations and the drama of the exile of thousands of human beings. The memory of Rivesaltes is the current reality of the camps that today contain millions of lives, millions of refugees, millions of dramas all over the world and at the doors of the European Union. Nevertheless, this is not a work about Rivesaltes, nor is it historical research. In this case, history is really the guide to a journey in the collective emotional memory, seeking the universality of individual experience, beyond eras, boundaries and nationalities.

The word refuge has its origin in the Latin word refugium, a word that was used indistinctly to refer to the place towards which one flees as well as to the “escape route”. In other words, to a place safe from danger (not necessarily physical and immediate) or a means to escape from a dangerous situation. It also meant “return”, “arriving back”, as opposed to “desertion”. The plural – refugia – referred to hiding places in Roman houses where the father of the family could hide his possessions in case of an attack by enemies or a fire. In biology, refugium refers to the area of an isolated population or that of the residual presence of a previously more widespread species. Protection, escape, retreat, exit. Terms that indicate both a withdrawal and an outward movement, whichever the case, a permanent state of transit and danger.

A few years ago, during a visit to the Exile Memorial Museum of La Jonquera (Museu Memorial d’Exili – MUME), I read for the first time about Camp de Rivesaltes, also known as Camp Maréchal Joffre, a former concentration camp in the south of France which was first opened in the 1930s to accommodate Spanish exiles. The camp remained open for nearly 70 years., and Among other uses, it served as a concentration camp during the Nazi occupation and then as an internment camp for Algerian Harkis. The dramatic history of Rivesaltes runs through the entire 20th century, which is why it is used as a guide to research the most tragic events of Europe’s recent past. Rivesaltes is not exclusively a geographical location; it is also – or especially, now that its ruins have made way for memory – a collective emotional space.

The work exhibited here – mostly carried out between 2013 and 2016 – emerged from the rubble of the camp, which acted as both executioner and witness of the horror of the Nazi deportations and the drama of the exile of thousands of human beings. The memory of Rivesaltes is the current reality of the camps that today contain millions of lives, millions of refugees, millions of dramas all over the world and at the doors of the European Union. Nevertheless, this is not a work about Rivesaltes, nor is it historical research. In this case, history is really the guide to a journey in the collective emotional memory, seeking the universality of individual experience, beyond eras, boundaries and nationalities.

The word refuge has its origin in the Latin word refugium, a word that was used indistinctly to refer to the place towards which one flees as well as to the “escape route”. In other words, to a place safe from danger (not necessarily physical and immediate) or a means to escape from a dangerous situation. It also meant “return”, “arriving back”, as opposed to “desertion”. The plural – refugia – referred to hiding places in Roman houses where the father of the family could hide his possessions in case of an attack by enemies or a fire. In biology, refugium refers to the area of an isolated population or that of the residual presence of a previously more widespread species. Protection, escape, retreat, exit. Terms that indicate both a withdrawal and an outward movement, whichever the case, a permanent state of transit and danger.

The work presented in Refugium, refugia portrays the physical and emotional places of uprooting, places where burial frequently follows exile, where the need for shelter is accompanied by its denial and where the solution to the tragedy is only the lesser evil. The camps are at the same time refuge and condemnation and certify the loss of dignity and identity of refugees, broken, separated from their roots, from their land, from their past. Mass graves, pits, burial mounds, boxes… real or symbolic shelters, cynical alternatives to cynical European politics. The refugee as an intrinsic condition of the exiled, where the impossibility of returning home points to the absolute and definitive impossibility of having a new home, because uprooting is an irreversible trauma that affects the very fundaments of the human being.

Acknowledgements

This work has been possible thanks to the support of La Escocesa and Hangar, creation centers in Barcelona. I also thank all the members of MuME, Paula Bruna, Carlos Puyol, Mireia Martínez, Raül Segarra, Tere Badia, Kike Bela, Pep Dardanyà, Piramidón, Yann Molina, Josep Maria Cabané, Elodie Montes , Judith López, Pilar Mestre, Mar Arza, Miquel Bardagil…


Museu Memorial de l’Exili, c/Major, 43-47, 17700 – La Jonquera (Spain)
+ info:
www.museuexili.cat

“La Entrega” en el Centre d’Art La Panera hasta el 8 de septiembre

Sábado 15 de junio en La Panera de Lleida se inaugura la exposición de l*s 4 artistas premiad*s con la beca Arte i Natura de los últimos dos años. Yo presentaré una selección de una decena de obras realizadas durante el desarrollo de mi proyecto La Entrega. La exposición estará abierta hasta el 8 de septiembre.

MORE INFO

Expanded paintings in 2019_n1 group show @ Piramidón

(Fotos: Laura Barrachina / Piramidón)

A selection of my expanded paintings will be exposed until March 26th in 2019_n1 group show at Piramidón, Barcelona.

 22/01/19 > 22/03/19

Artists: Tono Carbajo, Diego Pujal, Rosanna Casano, Estefanía Urrutia, Marco Noris, Yamandú Canosa, Kati Riquelme, Iván Franco, Alberto Gil, Natalia Carminati, Eduard Resbier, Ruben Torras, Pere de Ribot, Avelino Sala, Francesca Pili, Nicolás Laiz, Antoni Abad y Guillermo Pfaff.

+ Info: piramidon.com

Piramidón – Concili de Trento, 313 planta 16
08020 Barcelona. – (+34) 93 278 07 68

“A proposito di Marco Noris. Gesto, paesaggio”. La Rivista di Bergamo n. 96

It is out in La Rivista di Bergamo n. 96, “A proposito di Marco Noris. Gesto, paesaggio” (About Marco Noris. Gesture, landscape), the wonderful text written by Tere Badia and translated by Marcello Belotti, on my last five years of work.

Versione in italiano del testo: 
http://marconoris.com/it/a-proposito-di-marco-noris-gesto-paesaggio/

Aquí la versión original del texto en castellano:
https://marconoris.com/sobre-marco-noris-ademan-paisaje/

La Rivista di Bergamo #96 (cover)

L’Entrega en el article de Guillem Serra, diari Ara

Diari Ara - Guillem Serra

Les cases grans de l’art: residències i fàbriques de creació

Un dels principals elements que configuren la idiosincràsia de les residències artístiques és la pertinença a una xarxa. Un mapa estès globalment que no s’ha parat de teixir per tot el territori català. Marco Noris, artista multidisciplinar italià establert a Barcelona, ho sap i ho reivindica en el seu últim projecte: La Entrega. Caminar a través de la xarxa, viure-hi, crear-hi i cartografiar-la de la forma més literal…

— Leer en play.ara.cat/propostes/cases-grans-residencies-fabriques-creacio_0_2134586538.html

Art and Nature in Creation 2018

My project The Delivery, Act I has been awarded one of the two “Art and Nature in Creation 2018” grants of the Centre d’Art la Panera de Lleida, along with the Centre d’Art i Natura de Farrera and the Centro de Arte y Naturaleza de Huesca
I would like to thank the jury – Cèlia Del Diego Thomas, Juan Guardiola, Pere Bascones – and the three organizing centers. I would also like to again congratulate the other winner, Olga Olivera-Tabeni.

What is the project about?

In the Pyrenees during the development of the project On the Border, I learned that walking is about surrendering oneself in order to appropriate time and space. This time the purpose is to deliver/surrender this time and space to its addressees.

It is on this postulate that The Delivery is born, a project conceived as a set of actions based on walking, an action understood as creative practice, stimulation of thought and refutation of an alienating, corrupted and contaminated social system. In Spanish and Catalan, the title of the project plays with the double meaning of the word entrega (“delivery”), which refers to the idea of consignment and at the same time to the idea of abnegation, a common characteristic of artistic practice and walking.

The residency project will thus begin with the delivery of a series of works on paper made on my way to the Centre d’Art i Natura in Farrera from my studio at Piramidón in Barcelona. These papers (in four different sizes between 50×70 and 140×200), folded as maps are usually folded, will be unusual travel notebooks, which can be considered at the same time as logbooks and inner maps. It will thus be about the delivery of the work as well as of the artist and walker, the travel time and the space traveled.

If the production of On the Border was characterized by a very strict technical planning (technique, size, support) within a traditional framework such as plein air painting, in The Delivery there will be more space for improvisation, taking advantage of the experience gained and introducing geographical and environmental elements into the creative process.  

The route will begin on September 25th 2018 and will have an approximate duration of 21 days.

More info during the journey: