Spanish artists

Patricia Fernández. L: Rhythmic Moon in January (Cascade Range), 2021, Hand-carved walnut, oil on tin, pine, second hand, quartz clock movement 6.5 x 6.5 x 1.5 in (17 x 17 x 4 cm). R: Lunar Moon in August (Cascade Range), 2020, Hand-carved walnut, oil on tin, pebble, copper, second, minute, and hour hands, quartz clock movement 12.25 x 12.75 x 1.5 in (31 x 32 x 4 cm). Courtesy CWC

PATRICIA FERNÁNDEZ: HEARTBEATS

Commonwealth and Council presents «Heartbeats», an exhibition comprising Patricia Fernández’s explorations of perception and embodiment of temporality, in a year when time felt indeterminate or elastic. Hand-carved clocks and paintings of lunar calendars manifest her continual efforts to mark time amid uncertainty and isolation, pondering systems of timekeeping and a sense of simultaneity.

Installation view: “Hash Brownies” After Alice B. Toklas," by Elena del Rivero, Henrique Faria Fine Art, New York, NY, 2020. Courtesy of the gallery

ELENA DEL RIVERO’S HEALING FEMINISM

The towels, which are larger than human-scale, take their initial design inspiration from the traditional French Torchon aesthetic but soon become testaments to the artist’s hand, kitchen and home as the canvases bear not only acrylic paint but also stains of wine, turmeric, rust and bleach and are subjected to hand-scrubbing in the artist’s tub. As writer and curator Cecilia Fajardo-Hill writes of del Rivero’s process in the exhibition text, “the performative act of metaphorically cleaning, while also creating and integrating chance into the process of painting, both celebrates and exorcises women’s history in the kitchen.”

Miralda, Color Bread, 1973. Bread cooked with food coloring, printed drawing, Plexi-glass vitrine. Edition of 33. Courtesy: HFNY

Miralda:unpacking The Archive

Henrique Faria New York presents «Unpacking the Archive», the first solo exhibition of the Catalan artist Miralda (1942, Terrassa, Spain) in the gallery and his first in New York City since 1991. This exhibition takes as its starting point the recently made works Marianne B and Marianne M (2017), which serve as visual repositories for the artist’s career to date and feature elements –in the form of figurines, ephemera and other archival materials in plexiglass boxes– that bring the constellation of Miralda’s various projects and installations more clearly into focus.