argazkia Gabriela Kraviez

Argazkia Gabriela Kraviez

San Sebastian, 1969. He lives and works in San Sebastian. He has taken part in collective and individual exhibitions such as:

           [martillo puño- flecha dedo]. Individual Exhibition, curated by Catalina Lozano, Parallel gallery, 2017 (Mexico City)/ Restos materiales, obstáculos y herramientas. 32nd Biennial of Sao Paulo, 2016/ Can-ni-faire. Individual Exhibition, CarrerasMugica, 2016 (Bilbao)/ Une machine désire de l’instruction comme un jardin désire de la discipline. Collective Exhibition, curated by Catalina Lozano, Frac Lorraine, Metz 2014 / (A.T.M.O.T.W.) Xabier Salaberria. Proceso y Método Guggenheim, 2013 (Bilbao)/ The Society Without Qualities. Collective Exhibition, curated by Lars Bang Larsen. Tensta Konsthall, 2013 (Stockholm)/ Inkontziente- Kontziente. Collective Exhibition Scenario 1 about Europe, curated by Peio Agirre. GFZK, 2011 (Leipzig)/ Eine grammatik der dritten person. Collective Exhibition, curated by Burkhard Meltzer and Tido von Oppel  Corner College (Zurich)./ Inkontziente/ Kontziente. Individual Exhibition, CarrerasMugica, 2011 (Bilbao)/ Cold Front. Curated by Chus Martinez, Kunstverein, 2008 (Frankfurt). Among others, he is currently participating in the CCentro Madrid Ganar Perdiendo exhibition, curated by Catalina Lozano.

stone-like noise in the left tyre

This exhibition has its roots in the invitation received by Xabier Salaberria  to curate a collective show on the new premises of Halfhouse, Barcelona. After nine years of business, Halfhouse opened a new chapter in 2018 with a change of venue and a cycle of artist-curated collective exhibitions. Following the respective exhibitions organised by the artists Luis Bisbe and David Bestué, this latest offering has been overseen by Xabier Salaberria with the participation of Ainara Elgoibar, Oier Etxeberria, Gabriela Kraviez, Jorge Satorre and Xabier Salaberria himself.

The particularities of each artist's body of work constitute the starting point of the exhibition methodology. The fact that all of their different approaches have gradually come together, until such a time as they have to share the same space, has opened up a horizon of possibilities—the possibility of being suitable or unsuitable, of comfort or discomfort, and even of friendliness and hostility between the artist’s methods.

In that sense, the exhibition configuration will be transformed as each of the artist’s offerings evolves. This idea revolves around the option to adapt each work or not to the space, and the shared staging of the show.

The exhibition will be held between March and April 2019. Reflections on the exhibition journey will continue to be made following its opening, in continuation of an exercise that has characterised the collective process from the outset.