Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau)

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Elena Asins, Narelle Jubelin, Anna Turbau.
From May 11 to July 5, 2024. The exhibition runs until early September (August closed for holidays. Appointment only).
Calle de Ramón de la Sagra, 3. A Coruña, Spain.

Anna Turbau

Anna Turbau. (b. Barcelona, ​​1949) is a photojournalist linked to counterculture and photographic realism, with interesting documentary projects. She studied graphic design at the Escuela Massana (Centre d'Art i Disseny) and at the Escola Elisava (Escola Universitària de Disseny i Enginyeria de Barcelona). As she has commented on several occasions, after receiving an assignment from Interviú magazine to cover the squatting of an apartment in Barcelona, ​​she discovered her passion for photography and photojournalism.

Her photographic style, characterized by the habitual use of black and white with a symbolic will and angle to achieve very expressionist optical effects, has been linked to that of other photojournalists such as Pilar Aymerich or Manel Armengol. Among her references, Anna Turbau has highlighted photographers such as Cristina García Rodero, Koldo Chamorro, Robert Doisneau and Robert Frank.

Her work highlights the photographic work carried out in Galicia between 1975 and 1979. Invited by the Colexio of Architects of Galicia, her first intention was to document the housing project designed by César Portela and Pascuala Campos in the town of O Vao (Pontevedra ), built to house gipsy families.

Her visit would last four years, with her working as a correspondent for magazines such as Interviú and Primera Plana, becoming a notary for the movements of political, social and economic change of the Transition. Her archive accumulates nearly ten thousand negatives including the demonstrations in favour of the autonomy statute of Galicia, the mobilizations against the construction of the AP-9, the drama of the Marbel shipwreck and the first edition of the festival of Ortigueira, among others.

Some of her photographs are found in important collections such as the Museo Nacional Centro de Arte Reina Sofía.

Pressured by the impact of her work, she was forced to return to Barcelona. A difficult return that took her through different jobs such as Actual magazine, the TV3 network where she worked as a production assistant for 12 years or a photojournalism teacher at the Grisart International School of Photography in Barcelona. She currently lives between Calatañazor (Soria) and Barcelona, ​​and in 2017, Anna Turbau's anthological book about her time in Galicia was published. Galicia, 1975-1979, published by the Consello da Cultura Galega, which accompanied the exhibition of the same name.


Narelle Jubelin. Born in Sydney in 1960, between 1985 and 1987 Jubelin was co-founder (with Roger Crawford, Tess Horwitz and Paul Saint) of the Sydney-based Firstdraft Gallery, which remains today the longest-running artist-run initiative in Australia.

Jubelin has lived and worked in Madrid since 1996. This particular path has led her to establish a strong relationship with Spain while addressing issues related to Australian history and culture.  She is famous for her petit-point renditions of heavily charged photographs that allow her to explore historical lines that interconnect location and history. She is interested in the way objects travel and translates. Thus, every detail of her work is important; the exhibition, the setting and the site, including the journeys made by the work itself, are one more layer to the reading of the works that acquire meaning with each new exhibition. Her technique slows the process of image assimilation through intricate stitching and unfolding that forces the viewer to engage with the intimacy of scale.

She works with different materials and has exhibited widely in the last twenty years, from Aperto in the 1990 Venice Biennale, the Hayward Gallery, London in 1992, Museo Reina Sofia, Madrid, the Renaissance Society, Chicago in 1994, and the 2009 Sharjah Biennial, United Arab Emirates. She had solo shows at the Art Gallery of New South Wales, Sydney, 2009; Heide Museum, Melbourne, 2009; Casa Encendida, Madrid, 2012 and Gulbenkian Foundation, Lisbon, 2014.

For over two decades, Jubelin has stitched miniature petit points, combining them with objects and textual citations in architectural, photographic and painterly installations.

Elena Asins

Elena Asins (Madrid, 1940- Azpíroz, Navarra, 2015)  artist, writer, lecturer and art critic, was born in Madrid in 1940. She studied in the School of Fine Arts in Paris, in the University of Stuttgart (Semiotics with professor Max Bense) in the Complutense University in Madrid ( Centre of Calculus) in the New School for Social Research (New York) and in the Columbia University (Department of Computer Science: Computer Art), where she was invited as Visiting Scholar for the investigation of the digital application in the plastic arts (computer art).

She has performed more than 40 individual exhibitions in different countries and has written and published publications specialized in art and aesthetic, in Spain, France, Germany and the United States.

Her work is remarkable mainly for her rigor and coherence, for her independence of the fashion or the interests of the art market. Her two-dimensional and three-dimensional works can be found both in museums, private and public collections and in art investors. She has been awarded seven scholarships of national and international status and she has given numerous courses and lectures on Contemporary Art in different universities and cultural centres.

Elena Asins was awarded the Medalla de Oro al Merito en las Bellas Artes in 2006 by the King and Queen of Spain.

One of her most important contributions has been her research on computing in art, where she was pioneer in 1967 and where she is still studying with conceptual contributions, based on algorithms. The last contributions of Elena Asins to the ìquestions posed by the plastic artsî are aimed at the concept of the town planning as aesthetics and as a necessity, at the concept of architecture as an essential art and at the aesthetic intercession in space and time.




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