The March workshop and the pedagogical tradition in the Valencian neighborhood of Carmen

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With the exhibition “Suspended Places. Revitalizing Urban Identities”, an exhibition organized by LABi (Laboratory of thought, creation and diffusion of the image), integrated by a group of students of the Master in Photography, Art and Technique of the Polytechnic University of Valencia, in collaboration with La Posta Foundation, we have the opportunity to see a series of pieces from the March House-workshop in Mare Vella street; along with works by Pau Figueres and Pepa L. Poquet, in a dialogue that comes to focus attention on the impacts and transformations suffered by the city, little attentive to the life forms that inhabit it; because the March workshop suffers the threat of the pickaxe, for the sake of the progress of the city (the opening of a square at that point is intended, in order to be able to contemplate the remains of the Islamic wall of the city).


Staged looks

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During the past year 2018 Vicente Ponce and Miguel Ángel Baixauli have launched, in collaboration with Sonia Martínez and Nuria Enguita, the program "Images on Images. From cinema to photography", a new way of approaching the enjoyment of images, taking as an argument some exhibitions that have taken place at Bombas Gens Art Center, but the power of the device put into action is of such intensity that it has sufficient entity in itself for us to pay attention to it, independently of the exposures to which it was associated.


Through different moments and places: The strategy of the grass

Screening

An original production of Cinema to come ―The strategy of the grass, up on the screen― that sums up pretty well how to operate these journeys of non-fiction and experimental cinema, whose activity incorporates participants and audience in a little differentiated way, introducing them into a flow that goes through different times and places.


the trap that listens to flamenco

Screening

When asking Pedro G. Romero "Is there a counterculture today?" He replies: "There are echoes and mirrors of what, historically, we know as 'the counterculture', perhaps, [in the Spanish case] the Comuna Antinacionalista Zamorana resonates in Espai en Blanc, or Tiqqun in France or Mexico; Ocaña and Nazario are easily transportable to certain forms of queer, or the suburban rumba has the same poetry as the trap that listens to flamenco..."


From the small. Summary season 2017-2018

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The 4th season 2017-2018 began with what has probably been the most relevant activity developed by La Posta since its inception, at least as regards its global reach, it is "Alexander Kluge. Gardens of Cooperation "; and it has ended the same, with the world premiere of the montage conceived by Harold Berg "Gordon Matta-Clark, Jacob's Ladder in Documenta 6", made with unpublished material never before shown.


Museari Queer Art. A comment

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"Museari Queer Art" is the 3rd edition of Museari, Museu de l'Imaginari, at La Posta Foundation. It is a selection of works by artists who have gone through www.museari.com since July 2017 until now: Andrea Perissinotto, Mar Morón, Alex Francés, Gledys Macías, Lucia Marrades, Emilio Martí, Javier Velasco, Lluís Masià, Anna Maria Staiano and Angel Garcus.


Crossdressing is Resisting

Screening

Being part of a historically excluded group, such as the LGBTI community, allowed me to understand that in the field of the enforceability of rights there is a resource that is continuously plundered and destroyed: the symbolic imaginary; who conquers it, has managed to gain a large part of the ground, thus, art becomes a strategy and the body becomes a tool.


8 PHOTOGRAPHS (Chilean)

Screening

This season at Fundación La Posta LABi 02 programming has been starring Chilean photographers: Alexis Díaz B., Paloma Sagüez, Rodolfo Muñoz, Francisco Navarrete Sitja, Jorge Pérez. #FOTOGRAFIACHILEValencia


Emerging workshops and social sculpture

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This spring is dominated in La Posta Foundation by Emerging Workshops [Cyanotype, Color Tune, Psychogeography, ZOMBIE SPACES | SOUTH VALENCIA], all of them coincide in expanding the concept of art ―in some cases the brushes have been literally handed over to the attending public―, and in several of them the public has been taken to the street, to live and reflect on the public space, which had traditionally been considered as the quintessential domain of sculpture.


The art of the territory, in the tradition of the conservation of cultural assets

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It is this concern for the population residing in the territory, which does not appear in the images because it has been or is being displaced, its absence is what marks these landscapes, as well as the taking of the party in favor of its vindication in favor of the conservation of those territories as they were before the interventions that have displaced them.