Prior to it’s opening in 2010, between August and October 2009 CeRCCa invited twelve international artist and designers to develop different projects, installations and interventions in CeRCCa spaces. Three workshops of 15 days each were organized with the aim to create permanent structures and atmospheres in different areas of the house. All the installations and interventions had to be developed within a limited budget, recycling and transforming existing and collected furniture and objects and they had to respond to the history and stories of the family house where CeRCCa is based.
With this project CeRCCa wanted to encourage the practice of salvaging and re-imagining objects, spaces and resources from the past, which can be re-used inventively to meet contemporary needs. The result, though minimalist and economic in its aesthetic, was resonant with character and unexpected interventions becoming signs of the possibility of more sustainable and humble ways of producing and creating. Both sustainability and humbleness strategies that in fact shape the philosophy of CeRCCa.
The project would not have been possible without the generosity of Carme Olivella, a passionate collector of antique furniture and objects, who made available lots of valuable material for the development of FURNISH ME! projects as well as thanks to the support of the people of LLorenç del Penedès.
What follows is a selection of the different projects developed between July and September 2009 at CeRCCa.
Oscar Lara was born in Lima, Peru, in 1977. He started his career as a visual artist in Lima and continued his study in Australia, where he was awarded a Master of Creative Arts from the University of Wollongong. Exhibited internationally, his work has been acquired privately from public collections. Some of his recent work involves sculpture installations, video documentaries, performance and social development projects.
During his time at CeRCCa Oscar worked on a wall installation made of old chairs. The eight chairs where found in the old cinema where Carme Olivella used to storage the furniture that she has been collecting over time. Oscar created an hypnotic structure by mounting the chairs vertically in a round structure that resembles a tridimensional mantra. To the chairs he added mirrors that create a multiplicity of patterns and reflexions that embrace the viewer and invites the users of the new space to interact and play with the different view perspectives that the installation offers.
Born in East Germany in 1981 Sebastian Acker moved to London to study spatial design at Chelsea College of Art and Design, which led him to work as a commercial set designer for several years. After some endeavors in fine art he was awarded an AHRC Scholarship to study sculpture at the Slade School of Fine Art, from where he graduated with an MFA in 2012. He has since been awarded the Land Securities Studio Award and has exhibited in Copenhagen, London and Dresden (2012).
‘The table is a simple relational piece, a table where the artists in residence can eat and gather. I merged and restored seven broken table legs and a tabletop I found on site. Eventually I placed three spy holes, the kind with the little removable covers you use for doors, in the tabletop. While dinner etiquette probably prevents people from actually making use of the spy holes in an every day situation, I liked the idea of animating the private space below the table, especially in the context of an artist residency as a temporary home.’sebastianacker.com
Raphael Franco is an artist and activist born in Sao Paulo where he graduated in Visual Arts at the Faculta de Santa Marcelina. Since 2007 he lives and works in London. In his work Raphael explores the relationship between man and nature, reflecting on the way we relate to and transform the space around us. He has been involved in collaborative projects and urban studies and has been showing his work in both group and solo shows in Brazil and Europe. As integral part of his projects Raphael has been working with children and young people in diverse educational environments such as schools, educational and youth centers.
‘A large part of my artistic practice is about exploring the relationship between humans and the physical world; reflecting on the contrast between nature and the built environment. Working mainly with photography and video, I examine how big cities are organized and are constantly under transformation. I am also involved in project-based works, which range from interventions on derelict buildings through the collaboration with other artists to community-based works. The major goal of my work is to encourage the audience to feel more connected to the city, expanding the perception as well as reflecting on the way we relate to and transform the landscape around us.
My project at CeRCCa consisted on the construction of a mobile building container shaped structure made of different pieces of wood. The structure is a multifunctional furniture piece that can be used as a shelf, as a working table or as a space divider. The use of the container as a shape is reminiscent of my obsession on this ubiquitous structure as a site I use as a performing and installation space.
Katie Sinnott received her Master of Fine Arts from UCLA in 2013, and holds degrees from UC Berkeley and the School of the Museum of Fine Arts in Boston. In 2011, she was awarded the Travelling Scholars Grant from the School of the Museum of Fine Arts Boston, and in 2013 was the recipient of the Dedalus Foundation Master of Fine Arts Fellowship in Painting and Sculpture. Most recently, Sinnott has exhibited at Cirrus Editions, Night Gallery, ACME and the Sonce Alexander Gallery in Los Angeles, California, where she currently lives.
‘My work involves play in architectural space, where I treat the studio like an unfolding painting, a malleable sculpture that develops and moves over time. In a daily practice I will add and remove paint, drywall, plywood, light and other materials in the space, to bring it close to a balancing point where it is moving and still, flat and dimensional, empty and vibrant, imagined and real; like an interior and outside space, coming together and falling apart. This work grows from the idea of being inside of a changing painting, and engaged in a process of continuous renewal.
I arrived at CeRCCa to an empty bedroom, no plan for my contribution, piles of old doors and windows, and the company of four other artists from all parts of the world. Together we sunk into the space of the house and mixed our ideas, and our own projects began. After four days of observing the empty, white room and playing with arrangements of pieces of old furniture, I began to construct the space around the feelings of emptiness, simplicity, and light, to build what I consider a three dimensional drawing.’katiesinnott.com