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No place is an experimental platform for the exhibition of contemporary art. A project promoted jointly by four galleries, namely Nueveochenta (Colombia), Arróniz (Mexico), Michael Sturm (Germany) and NF/NIEVES FERNÁNDEZ (Spain), it aims to generate new experiences for the public via an alternative production model.

Operating under a collaborative system, so that the tools, the teams and resources of each member are available to others, No Place is a collective effort to produce and finance events where the focus of attention rests completely on the artists’ work. In this sense, it is an unprecedented experiment, and one with which the galleries seek to contribute to the transformation of an established reality as typically sought by all agents linked to the art world.

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Thomas More sketches a picture of an attractive and compelling world, a place we want, and we can’t have. A No place, denied when we’d switch our allegiance from reality to a fantasy. Because the fantasy of the future cannot be sold to us as a place in which we must reside, we are forced to dream.

This sort of unrealistic Utopia in its true meaning of no-place, still retains its political function as an ideal: a loadstone to guide us and a frame within which to imagine

Art is a motor of change, and the problem of today’s art world is not a lack of rigorous analysis, or a necessity for the revelation of the “truth,” but instead the need for a radical imagination.

Without utopian thinking we are constrained by the tyranny of the possible. Let’s experience an alternative reality, this is what good art does, is what Thomas More’s Utopia does.

As the size, speed, and form of the art market has accelerated in the 21st century, is it time to rethink the way the art world is, and the way we would like it to be. Under this motivation, a group of 4 galleries join efforts to begin a survey that explore new ways of collaboration and new platforms to make more powerful our task of bringing art to a broader audience.

If we want to rethink the future, we have to stimulate imagination, and for this it is far better to take people on a journey, to start ourselves a journey..

[/vc_column_text][/vc_column][/vc_row][vc_row parallax_enable=»» parallax_ratio=»0.8″ parallax_opacity=»»][vc_column reveal_effect=»none»][vc_separator color=»black»][/vc_column][/vc_row][vc_row disable_element=»yes»][vc_column][lab_scroll_box scroll_height=»250″]In Utopia,

Thomas More sketches a picture of an attractive and compelling world, a place we want, and we can’t have. A No place, denied when we’d switch our allegiance from reality to a fantasy. Because the fantasy of the future cannot be sold to us as a place in which we must reside, we are forced to dream.

This sort of unrealistic Utopia in its true meaning of no-place, still retains its political function as an ideal: a loadstone to guide us and a frame within which to imagine

Art is a motor of change, and the problem of today’s art world is not a lack of rigorous analysis, or a necessity for the revelation of the “truth,” but instead the need for a radical imagination.

Without utopian thinking we are constrained by the tyranny of the possible. Let’s experience an alternative reality, this is what good art does, is what Thomas More’s Utopia does.

As the size, speed, and form of the art market has accelerated in the 21st century, is it time to rethink the way the art world is, and the way we would like it to be. Under this motivation, a group of 4 galleries join efforts to begin a survey that explore new ways of collaboration and new platforms to make more powerful our task of bringing art to a broader audience.

If we want to rethink the future, we have to stimulate imagination, and for this it is far better to take people on a journey, to start ourselves a journey..

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