The Bienal de Artes Plásticas reaches its 10th edition at the Rafael Botí Foundation in Cordoba with a group exhibition curated by Jose Álvarez that will take place from June 23 to September 24.

The prestigious jury, made up of Antònia María Perelló, Francisco Baena Díaz, Jorge Díez Acón, Laura Revuelta, Regina Pérez Castillo and Óscar Fernández López, has selected a list of names that reflect the multiple sensibilities that make up the essence of each artistic proposal.

Among them, we can find a series of proposals by artists such as Marla Jacarilla, María María María Acha-Kutscher, Elo Vega, Democracia, Levi Orta, Miguel Benjumea, Núria Güell, Almudena Lobera, Juan López, Julia Llerena, Álvaro Albaladejo, María Carbonell, Alegría y Piñero, Chus García-Fraile, Eduardo Martín del Pozo, Fernando M. Romero, Gala Knörr, Miquel Mont, Elbi Elem, Marta Beltrán, Narelle Jubelin, Rosalía Banet, Arturo Comas, Rosana Antolí, Paula Anta, Juan del Junco, Cecilia del Val, Cristina Mejías, Marta de Gonzalo-Publio Pérez Prieto and Abel Jaramillo.

Narelle Jubelin (Sídeney, 1960) proposes the piece Nalgures (Lavadoiro do Sarela); an interpretation in petit point and cotton thread on linen weft, framed with a eucalyptus wood frame –specifically designed by the artist– that links with one of the water architectures –washing places– that Jubelin investigates in her artistic process and that is located in the neighborhood of Sar in Santiago de Compostela, on the banks of the Sarela River.

This small embroidery was part of the exhibition Nalgures, curated by Natalia Poncela for the Centro Galego de Arte Contemporánea. This exhibition placed us in an indeterminacy that was yet to be defined, in the interior of fragmentary geographies: places, vestiges, modes of occupation.

To this end, Jubelin took as a starting point the CGAC itself –inserted in an extremity of the Bonaval park where the presence of water vertebrates this former convent site– and delved into the memory of the landscape and of the human habitational constructions, but also in the modes of spatial occupation and formal redefinition of the different cultural productions.