JUNE CRESPO PORTFOLIO · Exhibition view Parentescos: John Coplans, June Crespo, Florian Slotawa...

JUNECRESPOPORTFOLIO

(1982, Pamplona, ES - lives and works in Bilbao)

June Crespo

June Crespo’s practice is a sensual analysis of contemporary models of rep-resentation, commenting on the actual and symbolical dynamics envel-oping the female body (visible for example in the incorporation of maga-zines catering to a female audience in her sculptural sets). Crespo’s interest in the concrete and corporeal conditions of the object/body, as well as in the immaterial contexts where it circulates and shifts, questions contem-porary life’s composite configuration made out of material and discursive dynamics.

June Crespo obtained her BFA from the Universidad del País Vasco and she recently completed a residency at De Ateliers (Amsterdam). Her solo shows include Foreign Bodies, curated by João Laia (P420, Bologna, 2018) To be two (CarrerasMugica, Bilbao, 2017); Chance Album Nº1 (etHALL, Barcelona, 2016); Kanala (MARCO, Vigo, 2016) and Cosa y tú (CarrerasMugica, Bilbao, 2015). Her work has also been shown in collective exhibitions such as: Drowning In a Sea of Data, curated by João Laia (La Casa Encendida, Madrid, 2019); Después del 68. Arte y prácticas artísticas en el país Vasco 1968-2018 (Fine Arts Museum Bilbao, 2018); Querer Parecer Noche, (CA2M, Madrid, 2018); Internal view, Galeria Stereo, Warsaw, PL (duo show with Piort Jonas, 2018); Final Exhibition of Paulo Cuhna & Silva Art Prize (Galeria Municipal Do Porto, 2018); y escucho tus pasos venir (Heinrich Ehrhardt Gallery, Madrid, 2018); Deep State (De Ateliers, Amsterdam, 2017) Generación2017 (La Casa Encendida, Madrid, 2017); HYPERCONNECTED (Moscow Museum of Modern Art, 2016); fluxesfeverfuturesfiction (Azkuna zentroa, Bilbao, 2016); Wild Things (The Green Parrot, Barcelona, 2014); Hitting it off (P-exclamation, New York, 2014); Pop Politics (CA2M, Madrid, 2012); Antes que todo (CA2M, Madrid, 2010).

A solo show at Heinrich Ehrhardt Gallery, Madrid, ES, has been planned in 2020 as well as two group exhibitions at Artium, Vitoria, ES and Fundación Botín, Santander, ES, where she was selected among the finalist contestants for the grant.

June Crespo, No Osso, 2019acrylic resin, fiber glass, fabric, cm. 80 x 40 x 53



Exhibition view No OssoA certain lack of coherence, Porto, PT, 2019

June Crespo, No Osso, 2019textile, latex, primer for canvas, cm. 60 x 75 x 25

June Crespo, No Osso, 2019concrete, clay, fabric, cm. 66 x 40 x 34

June Crespo, No Osso, 2019concrete, clay, fabric, cm. 66 x 40 x 34



Exhibition view La placaPlaca de Can Colom, L’ospitalet de Llobregat, Barcelona, ES, 2019



Exhibition view Parentescos: John Coplans, June Crespo, Florian Slotawa Galerie Nordenhake, Mexico City, 2019

Daytime regime, 2019 concrete, flowers, mirror, newspaper, cm. 61 x 46,7 x 39



Space between us, 2019concrete, pigments, cm. 127 x 40 x 23

Night-time regime, 2019concrete, pigments, textile, cm. 33 x 104 x 46

Night-time regime, 2019concrete, pigments, textile, cm. 33 x 104 x 46




Parentescos (amama), 2019concrete, flowers, textile, cm. 13 x 43 x 39

Parentescos (amama), 2019concrete, flowers, textile, cm. 13 x 43 x 39

Parentescos (ama alaba), 2019textile, concrete, epoxy clay, pigments, cm. 26 x 68 x 16


June crespo negotiates the void in her humanoid arrangements based upon the rhythmical elaboration of matter and form. doubling, repetition and symmetry are the artist’s ways to critique both the autonomy and the alien-ation of systems, caught in an imposed dance macabre of a life cycle. hers is a laboratory of organic melancholia; dismembered bodies and dysfunctional parts, forms within forms, are set in a mirror of their own hopelessness and despair, balancing the absence and echoing infra-realists calls: “tenderness as an exercise in speed. respiration and heat. experience shot, structures that devour themselves, insane contradictions”. crespo’s is both a lament for failed structures but also a longing for a rejuvenation and cohesion.

Adam Budak, 2019

Helmets VI, 2019stainless steel casting, bronze and ceramic coat, cm. 40 x 62 x 36 (steel support h. 88 x 95 x 62), Museum Reina Sofia, Madrid acquisition 2019

Helmets V, 2019stainless steel casting and ceramic coat,cm. 51 x 77 x 34 (steel support h. 98 x 115 x 70), Museum Reina Sofia, Madrid acquisition 2019

Helmets V, 2019stainless steel casting and ceramic coat,

cm. 51 x 77 x 34 (steel support h. 98 x 115 x 70), Museum Reina Sofia, Madrid acquisition 2019


Helmets V, 2019stainless steel casting and ceramic coat,cm. 51 x 77 x 34 (steel support h. 98 x 115 x 70), Museum Reina Sofia, Madrid acquisition 2019

Helmets V, 2019stainless steel casting and ceramic coat,

cm. 51 x 77 x 34 (steel support h. 98 x 115 x 70), Museum Reina Sofia, Madrid acquisition 2019



Internal View, Piotr Janas - June CrespoGaleria Stereo, Warsaw, 2018


Nao, 2018ceramics, oxides, foam, cm. 43 x 52 x 30


Nao, 2018concrete, ceramics, steel, textile, cm. 43 x 85 x 38


Nao, 2018ceramics, oxides, plasticine, cm. 44 x 49 x 30


Nao, 2018ceramics, textile, cm. 30 x 63 x 44


Hammer, 2018concrete, steel, cm. 49 x 80 x 30

Exhibition view y escucho tus pasos venir, Heinrich Ehrhardt gallery, Madridladder, aluminium and stain steel profiles, aluminium cast and ceramic coat,

plaster and silicone mold, strap, textiles, cm. 202 x 360 x 110, photos: Jonás Bel

y escucho tus pasos venir, 2018ladder, aluminium and stain steel profiles, aluminium cast and ceramic coat,

plaster and silicone mold, strap, textiles, cm. 202 x 360 x 110

y escucho tus pasos venir, 2018ladder, aluminium and stain steel profiles, aluminium cast and ceramic coat,


y escucho tus pasos venir (detail), 2018ladder, aluminium and stain steel profiles, aluminium cast and ceramic coat,








Untitled, 2018aluminium cast, ceramic coat, blanket, cm. 32 x 65 x 28

Exhibition view Paulo Cunha e Silva PrizeGaleria Municipal do Porto, photos: Dinis Santos





Exhibition view Foreign bodies, John Coplans & June CrespoP420 gallery, 2018

To be two (nero), 2018concrete, pigments, vaseline, cm. 59,5 x 48 x 37


To be two (nero), 2018concrete, cm. 125 x 22 x 17


The same heat, 2018concrete, pigments, T-shirt, cm. 61 x 30,5 x 15,5




The same heat, 2018concrete, pigments, jumper, cm. 17 x 40 x 31

In an article about Franz Mesmer, the Austrian physiologist who claimed he could cure ailments through channelling “animal magnetism,” writer Christopher Turner says that “The Lyonnais Mesmerists purported that their patients could see their own insides when in somnambulistic trances, and thereby make uncannily accurate self-diagnoses1.” Likewise, challenging the unidirectionality of vision towards the outside by turning it into the inside, seems to be running through June Crespo’s (Pamplona, 1982) recent work.

The sculptures that form Ser dos [To Be Two], Crespo’s second exhibition at CarrerasMugica, manifest to a great degree as surfaces that have neither inside nor outside, or as entry points, orifices of two kinds: architectural (drainage, sewer) and bodily. The latter are suggested roughly through a human scale, and have a wretched character, something that features con-sistently in Crespo’s evocations of the body here and in previous works. The wax vessels that lend their mouth to these aspiring bodies form a sort of perineum; they are cheaply dressed in synthetic fabric: come and meet Gioni Feroli’s Lady Line. These same shapes appear also made of metal, strapped to the columns of the gallery space. Their openings almost secret-ing the left overs of their fabrication. The word “orifice” comes from the Latin orificium which in its turn is formed by os, or, ‘mouth’, and facere, ‘to make’. It is an active hole.

Ser dos (To Be Two) 2017

Installation views Ser Dos (To be two), CarrerasMugica Gallery, Bilbao, 2017

1. Christopher Turner, “Mesmeroma-nia, or, the Tale of the Tub”, in Cabinet, Issue 21- Electricity, Spring 2006.www.cabinetmagazine.org/issues/21/turner.php

Crespo always makes sense of her work after the fact. It is a method-ological strategy by which she produces forms and combines them, reveal-ing a tension between the elements manifested in their friction, amalgama-tion or slight distance. This is the case of the pieces Architecture dismembered that produce a landscapes of some sort, a decaying industrial horizon, a ghostly accumulation. Crespo hints at a series of references to popular material culture but intentionally cuts them short before they can enunci-ate something. They are present but somewhat hollow.

There is a dialectical relationship between the fortuitous, timid forms that result from experimentation with new techniques and the memory embedded in the accumulation of practice. Craftsmanship serves to divert intentionality and point at the importance of the incidental that appears in the production process and finds its place once it has been born as form, as in the “defective” metal vessels, or the “broken” concrete surfaces whose holes allow to see through different layers of materials as they connect through the structure. This methodology flattens any hierarchical rela-tionship between the elements that are combined in her works to become plinth, frame and sculpture at the same time.

Crespo’s work is the result of a series of conscious and unconscious decisions, a translation of the intuitive to the sensuous, of the latent to the visible, without giving into narrative – even if this can emerge later. There is a persistent transgression of form and recombination of ele-ments through constant material transformation, especially in the pieces Instruments and Fetishes created by assembling wax objects made out of moulds of everyday things (vinyl records, markers, etc.) that once casted in metal are cut and welded again.

Ser dos [To Be Two] timidly quotes Luce Irigaray’s oeuvre of the same title, honouring indetermination and escaping identification.

Installation views Ser Dos (To be two), CarrerasMugica Gallery, Bilbao, 2017

Catalina Lozano, 2017

Extensión horizontal (Horizontal expanse), 2017cement, iron, ceramic, fabric, paper, cm. 63 x 240 x 98



Ser dos (To Be Two), 2017cement, glass fiber, fabric, iron, cm. 58 x 85 x 66

SH, 2016cement, fabric, resin, iron, cm. 125 x 20 x 12

Extensión horizontal (Horizontal expanse), 2017cement, iron, fabric, magazine, bike-lifters, cm. 80 x 207 x 99





Ser dos (To Be Two), 2017wax, fabric, cm. 59 x 22 x 35




Ser dos (To Be Two), 2017iron, lining, strap, wood, cm. 156 x 44 x 35

SH, 2017cement, resin, silicon, fabric, cm. 145 x 20 x 20

Installation view Ser Dos (To be two)at CarrerasMugica Gallery, Bilbao, 2017

Installation view Ser Dos (To be two)at CarrerasMugica Gallery, Bilbao, 2017

SH/ff, 2016cement, resin, glass fiber, cm. 36 x 32 x 44

El mismo calor, (Same heat), 2017cement, iron, fabric, cm. 30 x 78 x 32

El mismo calor, (Same heat), 2017pigment, cement, foam, cm. 20 x 105 x 32

Ser dos (To Be Two), 2017bronce, lining, strap, wood, cm. 120 x 44 x 33

Ser dos (To Be Two), 2017bronce, lining, strap, wood, cm. 120 x 44 x 33

Installation views Ser Dos (To be two)at CarrerasMugica Gallery, Bilbao, 2017

Installation views Ser Dos (To be two)at CarrerasMugica Gallery, Bilbao, 2017

The sculptor June Crespo creates forms in tension. Her assemblages and installations are constructed out of natural and synthetic materials of resin, textiles, clothing, metal and concrete. But the works oscillate between fig-uration and abstraction, between realms that seem cast by the real – an imprint of a drain, for instance –yet which hover in imaginary spaces. Her forms seem bent out of place and out of joint. Crespo speaks of translating physical affects and imaginary landscapes, and there is an affective ten-dency in her work that is skilfully articulated. One recurring technique that Crespo makes is by a resourceful placement of vertical and horizontal material: the totemic build-up of matter, for instance, recalling graves or sites of memorial; or their horizontal placement, recalling bodies at rest. In one recent sculpture, presented in her project SH/Fuerzas Felices Crespo placed a ghostly remnant of human fabric, which was hung off a totemlike concrete block – eerie, to me it recalled skins, flayed bodies, or even the memorializing of the departed, or the casts of war or human conflict.

Crespo’s works are made of poised assemblages of cast and human-made objects that are both rough and contain the cohesion of gravity. They are concerned with the human body and its perception with textures and with joints, with joining and dis-joining; a recent sculpture series employs melted bottles. The works recall the human body’s own spaces for con-struction as well as connection and passage: tubes within tubes. She is interested in systems – the circulation of forms, affects and fluids, their translations within material and imaginary spaces.

In one series, Chance Album, vintage-looking magazines are sprawled open and placed within a cagelike space on the wall – contained and exposed. Extending from these were pieces of thin, elongated metal tubing that recalled a fishing pole; and pieces of abstract resin. In a separate series, she uses the existing architecture of a room: the radiators of a room, for instance, which are placed with crafted-looking tubular artefacts in differ-ent colours, or the image of a head. The results are eerie in how they speak to systems: natural systems of biology – of circulation or digestion – but also the architectural systems of buildings, energy, to larger systems such as the passage of time and the circulation of matter.

Pablo Larios, independent writer and critic

Catalogue Deep State / Offspring show De Ateliers (2017)

The same heat animates hearts and stones, 2017concrete, ceramics, steel, radiators, cm. 62 x 430 x 123

view The same heat animates hearts and stonesopen studios De Ateliers, Amsterdam, 2017

view The same heat animates hearts and stonesopen studios De Ateliers, Amsterdam, 2017

29 September – 12 November 2016Opening: Thursday, 29 September, 7pm#junecrespo

Presented at etHALL, the exhibition Chance Album nº 1 by basque artist June Crespo depicts her most recent explorations in her practice: an encounter between the artist’s imaginary place and her material, sensi-tive universe where both worlds overlap without hierarchies in construc-tions that approach the spectator from the corporeal, the affection and the unconscious.

Mental landscapes and physical experiences are verted in an amalgam of resin, metal, cement, ceramics and printed images forming a whole in which the structural and functional elements like pipelines, hinges and heating systems become information carriers, opening and closing alterna-tively the sluicegate of subjectivity.

Starting with a focus on the reproduction of images and their use in graphic design and sculptural installation, Crespo approaches sculpture from a broad perspective, producing objects that stand at the meeting point of assemblage, collage and camera-less photography. She catalyzes a poetics of encounters that comes out of affective-associative gestures on compiled materials. In this temporary arrangements, the specificity of the printed materials and collected objects becomes subject to new relations leading to diverse forms of appropriation, estrangement and recontextualization.

Crespo’s works are midway between the surrealist objet trouvé and the logic of the bricoleur. Departing from fragmented materials that are further expanded, folded, and reorganized in the construction of new objects and images. In a simultaneously constructive and iconoclast formal impulse, in her work, Crespo tries to interrupt the way of reading and perceiving forms that we recognise, in order to get involved with their physical and material presence.

Chance Album n°1 (2014 - 2018)

general view exhibition Chance Album nº1etHALL gallery Barcelona, 2016

Chance Album (Queen), 2016resin, magazines, metal and glass, cm. 140 x 6,5 x 300




Chance Album nº1, 2016heating radiator, duratrans lambda print, magnets, plastic folders with

flowers and dust, glass, glazed ceramic, installation variable dimensions

Chance Album nº1, 2016heating radiator, duratrans lambda print, magnets, plastic folders with

flowers and dust, glass, glazed ceramic, installation variable dimensions

Chance Album nº1, 2016heating radiator, glazed ceramics, cm. 95 x 109 x 10

Chance Album nº1, 2016heating radiator, glazed ceramics, cm. 95 x 109 x 10

view exhibition Cosa y túGalería Carreras Múgica, Bilbao, 2015

Daytime Regime (Elaine), 2014iron, Nova magazine (nov.1968), concrete, cm. 61 x 41 x 61

De nuevo al frente, 2015iron, concrete, pigment, glass, textile, Avant Garde

magazine nº1 (1968), cm. 61 × 41 × 61


Daytime Regime (Elaine), 2014iron, Nova magazine (nov.1968), concrete, cm. 61 x 61 x 61


Cheek to cheek, 2015concrete, textile, cm. 76 x 44 x 30 cm, cm. 75 x 19 x 16

Cheek to cheek, 2015concrete, textile, cm. 44 x 44 x 30




Daytime Regime (Brigitte), 2015concrete, magazines, cm. 125 x 50 x 50

June Crespo (b.1982, Pamplona, ES, lives and works in Bilbao, ES)

STUDIES

2008-2010Doctoral program: Creating and research in Art, EHU-UPV, Bilbao, ES

2005Artistic practice workshop Loupe and Magnet, Arteleku, San Sebastian, ESBachelor of Fine Arts. EHU-UPV, Bilbao, ES

GRANTS AND PRIZES

2019Winner Premio FMJJ, La Coruña, ES

2018Fundación Botín Visual Arts Grant, Santander, ESFinalist Paulo Cuhna & Silva Art Prize, PTEuropean Ceramic Workcentre (EKWC), NL

2016 Generación 2017, Fundación Montemadrid, ES

2015-2017De Ateliers, Amsterdam, NL

2014Artist residency IASPIS, Stockholm, SE

2013Gure Artea Prize award for artistic activity, ES

2010Scholarship Art and Research Cultural Center Montehermoso,Vitoria, ES

2007 First Prize Encounters of Young Artist of Navarre, ES

2006Artist residency KUB Kunsthaus Bregenz, Austria, ATResident Scholarship Bilbao Arte Foundation, ES

2005 First Prize Young Navarrese artists, ES

UPCOMING EXHIBITIONS

2020Grant Fundación Botín, Santander, ESMuseo Patio Herreriano, Villadolid, ES (solo)Heinrich Ehrhardt gallery, Madrid, ES (solo)Artium, Vitoria, ES (solo)

RECENT EXHIBITIONS

2019No osso A Certain Lack of Coherence, Porto, PT (solo)UNA DIMENSIÓN ULTERIOR, Aproximaciones a la escultura contemporánea en España, Museo

Patio Herreriano, Valladolid, ESUn amor salvaje que arruina nuestra paz, curated by Sergi Álvarez Riosalido, Inéditos 2019,

Casa Encendida, Madrid, ESLa placa, Placa de Can Colom, L’ospitalet de Llobregat, Barcelona, ESLes escenes: 25 anys després. Escena 5: Estrats, La Capella, Barcelona, ESParentescos, John Coplans, June Crespo, Florian Slotawa, Galerie Nordenhake, Mexico City, MXDrowning In a Sea of Data, curated by João Laia, La Casa Encendida, Madrid, ESJune Crespo + Pedro Here Ferrán, Yabi, Madrid, ES

2018Después del 68. Arte y prácticas artísticas en el país Vasco 1968-2018, Fine Arts Museum Bilbao, ESQuerer Parecer Noche, CA2M, Madrid, ESInternal view, Galeria Stereo, Warsaw, PL (duo show with Piort Jonas)Final Exhibition of Paulo Cuhna & Silva Art Prize, Galeria Municipal Do Porto, PTy escucho tus pasos venir, Heinrich Ehrhardt Gallery, Madrid, ES Foreign bodies, with John Coplans, curated by João Laia, P420, Bologna, IT (solo)

2017...There but empty, curated by Catalina Lozano, jose garcía mx Gallery, MXDeep State, De Ateliers, Amsterdam, NLSer dos, CarrerasMugica Gallery, Bilbao, ES (solo)Generación 2017, La Casa Encendida, Madrid, ES

SOLO EXHIBITIONS

2019A Certain Lack of Coherence, Porto, PT

2018Foreign bodies, with John Coplans, curated by João Laia, P420, Bologna, IT

2017Ser dos, CarrerasMugica Gallery, Bilbao, ES

2016Chance Album no1, etHALL, Barcelona, ESKanala, Intertextual program, Museum of Contemporary Art MARCO, Vigo, ES

2015Cosa y tú, CarrerasMugica Gallery, Bilbao, ES

2013Amatista, Sala Rekalde, Bilbao, ESReverse, curated by Mariano Mayer as part of the programme Have a Window, Torino, IT

2011El rayo verde, Centro Cultural Montehermoso, Art ans Research programme, Vitoria-

Gasteiz, ES

GROUP EXHIBITIONS

2019UNA DIMENSIÓN ULTERIOR, Aproximaciones a la escultura contemporánea en España, Museo

Patio Herreriano, Valladolid, ESUn amor salvaje que arruina nuestra paz, a cura di/curated by Sergi Álvarez Riosalido,

Inéditos 2019, Casa Encendida, Madrid, ESLa placa, Placa de Can Colom, L’ospitalet de Llobregat, Barcelona, ESLes escenes: 25 anys després. Escena 5: Estrats, La Capella, Barcelona, ESParentescos, John Coplans, June Crespo, Florian Slotawa, Galerie Nordenhake, Mexico City, MX

Drowning In a Sea of Data, curated by João Laia, La Casa Encendida, Madrid, ESJune Crespo + Pedro Here Ferrán, Yabi, Madrid, ES

2018Después del 68. Arte y prácticas artísticas en el país Vasco 1968-2018, Fine Arts Museum Bilbao, ESQuerer Parecer Noche, CA2M, Madrid, ESInternal view, Galeria Stereo, Warsaw, PL (duo show with Piort Jonas)Final Exhibition of Paulo Cuhna & Silva Art Prize, Galeria Municipal Do Porto, PTy escucho tus pasos venir, Heinrich Ehrhardt Gallery, Madrid, ES

2017...There but empty, curated by Catalina Lozano, jose garcía mx Gallery, MXDeep State, De Ateliers, Amsterdam, NLGeneración 2017, La Casa Encendida, Madrid, ES

2016There is a room for insomnia, Diego Delas & June Crespo, Fluent, Santander, ESTruc, David Bestué & June Crespo, The Green Parrot booth at Art-O-rama, Marseille, FRHYPERCONNECTED, 5th Moscow International Biennial for Young Art, Strategic Project

curated by João Laia at Moscow Museum of Modern Art, Moscow, RUFluxesfeverfuturesfiction, curated by castillo/corrales, Azkuna Center Bilbao, ES

2014Wild things, The Green Parrot, Barcelona, ESFirst Thought Best, Centro Museo de Arte Contemporáneo Artium, Vitoria, ESRetroalimentación, Sala de arte joven, Madrid, ESPareidoile, Bacelos Gallery, Madrid, ESOpen House, Iaspis, Stockholm, SE (Project in collaboration with Lorea Alfaro)Hitting it off, curated by Rivet, in P-exclamation, New York, US

2013Quarter System, Arquitecture School of UNAV, Pamplona, ES

2012Pop Politics: Activism at 33 revolutions, CA2M, Madrid, ESMitya, duo show Elena Aitzkoa & June Crespo. El Polvorín, Ciudadela de Pamplona, ESEsta puerta pide clavo, curated by Rivet at Tatjana Pieters Gallery, Ghent, BE

2011Plano, peso, punto y medida, Universidad Torcuato di Tella, Buenos Aires, AR

2010Before Everything, CA2M, Madrid, ES

PUBBLICAZIONI / PUBLICATIONS

2009-2011Escanografías Vol.1/.2 label CO-OP held by art critic and curator Peio Aguirre

2013Fluor no8, Contemporary culture magazine, site-specific section

2015El Estado Mental magazine no6, with Miren Jaio

Via Azzo Gardino 9, 40122 Bologna (IT)[email protected] / www.p420.it

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JUNE CRESPO PORTFOLIO · Exhibition view Parentescos: John Coplans, June Crespo, Florian Slotawa...

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