dOCUMENTA (13) Das Begleitbuch/The guidebook

Guidebook painted & collaged

Painting and collage on paper

2012-2016

Project on process since 2009

dOCUMENTA (13) Das Begleitbuch/The guidebook

Guidebook painted & collaged

Painting and collage on paper

2012-2016

Project on process since 2009

The Invisible 2010-2018

The latest discovery in the field of invisibility is a tiny 3D layer able to conceal small volumes or objects due to the dispersion of the light rays, an invention that Science magazine reported in 2010. The layer is composed of polymers and its surface contains lenses that projected light waves partially inclined to disperse them and hide the object to the human eye.

Maria Grazia Muscatello

There is no possibility of understanding the invisible outside the visible. If today, the power of the image seems to be exhausted only when seeing, in its immediate επιφάνεια (manifestation) - to the point that all that can be seen assumed the ontological status of reality - Plato was clear that the visible is a small part of the thing itself and that the essence of the image is not resolved at the simple observable phenomenon at a specific time.

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Precision Cosmology

Plumb series

Photo color on cotton paper

30 x 40 cm

2015

Map of directions.

Polyptych

Photogravure on copper plate stamped on white cotton paper; black ink and glitter

55 x 77 cm c/u

Centro Párraga Murcia

2017

Map of directions.

Polyptych

Photogravure on copper plate stamped on white cotton paper; black ink and glitter

55 x 77 cm c/u

Centro Párraga Murcia

2017

Map of directions.

Polyptych

Photogravure on copper plate stamped on white cotton paper; black ink and glitter

55 x 77 cm c/u

Centro Párraga Murcia

2017

The problem of the horizon 01

30 mirrors tinted in grey

60 x 80 cm c/u

Installation. Centro Párraga, Murcia.

2017

The problem of the horizon 01

30 mirrors tinted in grey

60 x 80 cm c/u

Installation. Centro Párraga, Murcia.

2017

The problem of the horizon 01

30 mirrors tinted in grey

60 x 80 cm c/u

Installation. Centro Párraga, Murcia.

2017

Transparent Slide

Radiotelescope Arecibo, Puerto Rico

2013

Black slide

Radiotelescope Arecibo, Puerto Rico

2013

Dark matter

Rosell Meseguer. Photo color on cotton paper.

120 X 140 cm

2015

The problem of the horizon 01

30 mirrors tinted in grey

60 x 80 cm c/u

Installation. Centro Párraga, Murcia.

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file.

Several documents, objects, books, photographs, drawings and other supports

Site-specific installation

Centro Párraga Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file.

Several documents, objects, books, photographs, drawings and other supports

Site-specific installation

Centro Párraga Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

The Invisible file

Several documents, objects, books, photographs, drawings and other supports.

Site-specific installation

Centro Párraga, Murcia

2017

Begoña Torres González

Rosell Meseguer. A history on dematerialization

Rosell Meseguer surprises us with this new exhibition, displayed in the space of La Fragua-Tabacalera, with a theme -the invisibility-, a concept related to others ideas that have inspired her last projects, such as UFO ARCHIVE (2007-2015). This implies a certain awareness of work that is likely to be organically presented, as a whole, in which her work tries to link together the erratic and the idée (fixe idea), the acceptance of contingencies and a rigour in the method.

Its main goal is the understanding of the role of visual representation in contemporary culture, as well as the development of our knowledge about the world in which we live: how are they able to impact in our imagination, how our personal memory is organized, how they are used for historical facts representation -our past, our future and our most intimate life. In fact how, they are part of our common life.

The assembly strength belongs to the nature of the documents, but also in the setting of a discursive accompaniment, and mainly in the pieces and installations displayed through space: reliefs or free-standing sculptures, objects, mirrors, picture frames, which are arranged in a room as minimalist, fragile, delicate in dialogue with the historical avant-gardes. Through them, Rosell underscores the fragility, variability and multiplicity of all artistic creation and its message, which is always held on weak changing and continuous balance structures.

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Alejandro Alonso Díaz

The Furthest Visible Point

A dead star is ten million times brighter than the Sun: The star, documented by the nuclear telescopic of NASA, is located at the centre of the Messier 82 galaxy, which is about 12 million light-years away from the Milky Way1 (1).

In confronting the universe’s paradoxes and its various spatial and temporal realities, our notions of perception, matter and reality expand towards an endless range of different directions. Some of the stars we can clearly see at night are actually shining with the light of the past, a nonexistent energy that to our eyes is yet real, visible. The phenomenological gap between their internal realities and our own reality shows the ways in which the nonexistent becomes visible while the invisible remains there, patent, real.

Taking the paradox between perception and reality as point of departure, Rosell Meseguer explores how invisibility coexists with the reality of the tangential. For the artist, ''what is not, it is not and what it is, it is'' is not a valid position. Sometimes propositions are interchanged, altered, mirrored, and our only possible perception leaves us in a tight scenario. The invisible surrounds us, attracts us and calls us in a silence to which we often respond through speculation.

 (1) CNN México: http://mexico.cnn.com/tecnologia/2014/10/12/una-estrella-muerta-es-10-millones-de-l

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Justo Pastor Mellado

Santiago de Chile, septiembre 2015.

The Production Of Cover-Up

In an earlier art project, UFO Archive (2007-2015), Rosell Meseguer delves into the thought processes that are part of the world of espionage -a built collection, photographs, newspaper clippings, materials and printed documents. All this gave birth to a magnificent catalogue in whose interior, the publication which gives account of the exhibition, contains a red caps booklet, of a smaller size, embedded into the publication. It is an issue inside the book, which would pass as an unidentified publishing object.

However, it is an infiltrated one which reveals its importance as the carrier of a few key messages, for whose concealment, it is convenient to display such as they are -in this saturation they would hide better what it is brought by them. It is Poe´s letter strategy, on one stolen letter, so the letter would not be visible. However, it is only one aspect of the problem, because the visibility of the real object will be always delocalized through the arrangement of a few elements of dubious authenticity.

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Mc City-Real Estates/Levels 2010-2014

The project was commissioned for LUGARES DE TRANSITO 2010-2011/Created by Gean Moreno, Eneas Bernal & Marta Soul

MC City is the unexpected and speculative construction of the city, in this case, Miami opposed but also in association with the construction of the European city, giving visibility to the excess against the invisible -speculation, desire and capitalist market mode-. The project is based on the creation of local files from the Miami newspaper: The Miami Herald in dialogue with Spanish newspapers. The project was born from the invitation to carry out the Real Estates/Levels project with Haitian, Miami based artist Adler Guerrier, and curated by Gean Moreno, Eneas Bernal and Marta Soul for Lugares de Tránsito with the support of ACE and CCE in Miami.

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13 Ways to look at a landscape

Intervention on a text by Gean Moreno & Ernesto Oroza

Journal paper, colour photography and glue

60 x 45 cm

2014

Press archive –black-

Collage: press paper, blueprint, silver gelatin on transparent paper

and black pigment on watercolour paper

113 x 308 cm

2013-2014

Triptych+1 Mercedes Benz

Colour photography on cotton paper

20 x 30 cm

2010-2014

Triptych+1 Mercedes Benz

Colour photography on cotton paper

20 x 30 cm

2010-2014

Triptych+1 Mercedes Benz

Colour photography on cotton paper

20 x 30 cm

2010-2014

Triptych+1 Mercedes Benz

Colour photography on cotton paper

20 x 30 cm

2010-2014

Press archive –floor-

Collage: press paper, graphite, acrylic

& polyvinyl acetate on watercolour paper

113 x 308 cm

2013-2014

Press archive –floor- & Pulling-up series (I, II, III y IV)

Collage and plaster from wall

77 x  54 cm each one

2008

Procedural installation Mc City and European book

(Manuel Navacerrada Collection)

2014

Detalle instalación

Mapa de Miami
120 x 80 cm aprox

Procedural installation Mc City

Several documents: map, papers, photographs, press...

2014

Press archive –headlines-

Collage: transparent paper, vegetal & polyvinyl acetate

on water paper

292 x 112 cm

2013-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

Polyptych

10 pieces of 20 x 30 cm each one/p>

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Polyptych Mercedes B. I

Photograph print on cotton paper

2010-2014

Lugares de Tránsito exhibition. Real Estates/Levels project

(in collaboration with Adler Guerrier & Gean Moreno)

Tabacalera Madrid

2012

Opa Locka- Real Estates/Levels.

(in collaboration with Adler Guerrier)

Colour photography on cotton paper

122 x 148 cm

2010-2014

Hialeah I- Real Estates/Levels.

(in collaboration with Adler Guerrier)

Colour photography on cotton paper

122 x 148 cm

2010-2014

Hialeah II- Real Estates/Levels.

(in collaboration with Adler Guerrier)

Colour photography on cotton paper

122 x 148 cm

2010-2014

Real Estates/Levels. Poster and video documentation

(in collaboration with Adler Guerrier & Gean Moreno)

Tabacalera Madrid

2012

Real Estates/Levels. Poster and video documentation

(in collaboration with Adler Guerrier & Gean Moreno)

Tabacalera Madrid

2012

Real Estates/Levels. Poster and video documentation

(in collaboration with Adler Guerrier & Gean Moreno)

Tabacalera Madrid

2012

Real Estates/Levels. Poster and video documentation

(in collaboration with Adler Guerrier & Gean Moreno)

Tabacalera Madrid

2012

Hialeah III- Real Estates/Levels

(in collaboration with Adler Guerrier)

Colour photography on cotton paper

122 x 148 cm

2010-2014

Rosell Meseguer

Mc City

The construction of the world around us, like a panorama of materials, colours and shapes that determine what it will be like, is a story of possibilities – potential fictions or realities in action. Everything is reality but appears to be fiction.

Koselleck believed that the history of Modernity emerged alongside a particular way of experiencing the temporality of the world; it emerged with the acquired experience of the historical field, that is: events usually frustrate expectations. Frustrated expectations generate unforeseen and unpredictable phenomena; other potentional fictions, other realities in act.

MC City is the unexpected and speculative construction of the city, in this case, Miami opposed but also in association with the construction of the European city, giving visibility to the excess against the invisible -speculation, desire and capitalist market mode-. The project is based on the creation of local files from the Miami newspaper: The Miami Herald in dialogue with Spanish newspapers. The headlines of the news published in the press, situate us in the diverse neighborhoods that build the city - marking the society that inhabits it and providing it with layers of visual, conceptual and numerical information-.

A European car moves between the Miami metropolis and the exuberant Florida botany, between luxury and marginality, between the centre and the periphery, between fiction and reality.

Gean Moreno (curator & visual artist, lives and works in Miami)

Real Estates Stories, 2010

Despite tireless filters that mediate the image of a city, despite these unchanging iconographies of movies and commercials, the cities continue to be complex and generate structures: Miami is no different. Intimate alterations, the almost invaluable feedback loops, unexpected logic, socially hierarchical habits and tax codes of conduct and their continuous violations, waves of immigrants and thought that they matter. All these things make really unstable our city, despite what seem to suggest a perfect row of buildings facing the sea, which are repeated over and over again in the initial sequences of movies and television programs.

In our partnership, it was important to avoid the temptation to develop a line of investigation which impose preconceived ideas, both external and those caused by a too usual local look over the city. Things were to develop organically, feed on these many complexities generated by the city. Anyone who was the final experience that develops around Miami, this should be immanent forces (...). We had to work bottom up, and from the inside out.

Work in collaboration between Rosell Meseguer and Adler Guerrier started without a concrete plan. It was deliberate. It began with tours around the city, long conversations and meetings to determine a work strategy. We had to tear down and start from scratch. Adler will carry Rosell by the city and give extensive walks, in such a way that she could experience some of these heterogeneous and uneven textures present in Miami. Make her feel some of the tensions that occur and evaporate across a neighbourhood or when are an enclave to another. (…)

During the process of work, the project - that it threatened to be eternal - became an archive of printed materials and photographs that covered from floor to ceiling, a wall of more than 6 metres; a huge bank of digital images that renouncing their aesthetic value -whatever this- for the production of internal links and trade-offs that embodied the complex urban and suburban panoramas of the city. The purpose of all this was not so much offer a «vision» of Miami in itself, but rather suggest that the city is a large and unstable field of textures and emotional impacts produced.

A project, however, it is not a city. The map and the territory are not the same - as Borges taught us. Finally, Rosell and Adler, both considered that the intersection between the real stories and the real estate - as happens in the movies «based on real events» and given the large number of foreclosed properties and posters for sale of real estate that stumbled - provided a land as rich enough to capture some of the bizarre complexity of the city.

Thus arises Real Estates Levels, which marries perfectly the atmosphere of a film of suspense, a thriller, with the bleak landscape of that of another (real?); Miami that flourishes. From Coconut Grove, Liberty City, Brickell or Morning Side, the artists explore the symbolic potential existing between the language of money and the urban landscape. The result is Real Estates/Levels, a metaphorical file, a plural and shared diary on the polyphony born in this delicate line that embraces the public and the private.

The final work maintains certain aspects of the initial file that produced it and tries to incorporate other forms such as billboards. One of the most interesting aspects in my opinion is to think about the vast amount of images of infrastructure - power lines, fences, urban networks - who survived to the final screen. I think, in a sense, they are representative of the assumptions that guided the project: that of less relevance are the obvious and photogenic qualities which set a city, its intangible - although very real - materials and textures; things that seem to not be there or are immaterial, as the electricity travelling through high-voltage power lines, are the true forces that mark the urban scene and generated the tectonic morphologies that organize our daily lives.

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American book

Conversations with Gean Moreno & Adler Guerrier

30 x 25 cm

Various techniques on paper

2010-2014

(Rosell Meseguer´s book)

An intervention developed by the artists Rosell Meseguer (ES) and Catarina Simao (PT) on the book by Jaques Derrida: Politiques de l'amitié - two artists/two books-, as a way to enable collaborative reading and rewriting. Using the ideological line that connects the two imperialist projects, the Spanish and Portuguese, Politics of Friendship by Simão & Meseguer, creates a framework of experience seeking to expand geo-political reading of the subject and the problems derived from it during the Cold War and today.

Sala Protocolo. Museo Nacional Centro de Arte Reina Sofía, Madrid, May 16th 2014.

Proyecto I+D: Imaginarios sociales II. La idea de acción en la sociedad posindustrial

More info

(Rosell Meseguer´s book)

An intervention developed by Rosell Meseguer (ES) on the book by Jaques Derrida: Politiques de l'amitié. Using the ideologial line of the imperialist projects, the Spanish and Portuguese, Politics of Friendship by Rosell Meseguer, creates a framework of experience seeking to expand geo-political reading of the subject and the problems derived from it during the Cold War and today.

Sala Protocolo. Museo Nacional Centro de Arte Reina Sofía, Madrid, May 16th 2014..

Proyecto I+D: Imaginarios sociales II. La idea de acción en la sociedad posindustrial

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Rosell Meseguer

POLITICS OF FRIENDSHIP BY SIMÃO & MESEGUER

Politics of friendship by Simao & Meseguer is the result of collaboration between Rosell Meseguer (ES) and Catarina Simão (PT). For this work the two artists have intervened on two copies of the same book, politics of friendship, of Jacques Derrida, as a way to enable collaborative reading and a rewrite.

Using the ideological line that connects the two imperialist projects Spanish and Portuguese, Politics of Friendship by Simão&Meseguer, creates a framework of experience seeking to expand geo-political reading of the subject and the problems derived from it during the ColdWar and today.

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SYMPHONIE ST 00036435

Installation of 9 round pieces with a 30 cm diameter, spy camera, display, led lights and copper wiring

Variable dimensions

Antonio Saura Foundation, Cuenca

2011

OVNI GLOBO Reflex Blue LPP61-BB

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 15 cm 2010

SUBMARINO PERAL

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 150 cm 2010

OVNI F66 Mittel Shwarz

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 150 cm 2010

PLATA Y CAÑON

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 150 cms 2010

OVNI BF 01-00031178

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 150 cm 2010

OVNI PBK9

Fotograbado en plancha de cobre sobre papel blanco 76 X 90 cm P/A 2010

OVNI INSTALACIÓN

Instalación de varias piezas en dibujo, fotograbado, fotopolímero, cianotipia, Marrón Van Dycke y fotografía color. Formatos diversos PHE, Galería Magda Bellotti, Madrid 2010