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Juan Cruz: Portrait of a Sculptor 2 July–2 September 2001 | James: Grey Doors, Woodyard, The Golden Heart (BACKSPACE) 25–29 November 1998 | Sancti Petri 14 January–1 March 1998 | Publications




Juan Cruz | James: Grey Doors, Woodyard, The Golden Heart, 1998 (3 tables, 3 chairs, 3 type scripts)
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Juan Cruz James: Grey Doors, Woodyard, The Golden Heart, 1998
(3 tables, 3 chairs, 3 type-scriptts)
Click to enlarge
Juan Cruz James: Grey Doors, Woodyard, The Golden Heart, 1998
(installation view)
Click to enlarge
Juan Cruz James: Woodyard, 1998
(Table, chair, 9 page typed script)

Press Information
1999 will be the Twentieth Anniversary year of the opening of Matt’s Gallery, which provides a fitting opportunity for the gallery to examine the wealth of documentation it has amassed over the 77 exhibitions of new work it has commissioned from 44 different artists over its history. Diverging from a more standard archive exhibition, BACKSPACE will simultaneously look back into the gallery’s past but also at its present and its future.

Simultaneously using all the gallery’s spaces BACKSPACE provides a unique opportunity for visitors to investigate the gallery's history, philosophy and artists in depth. The exhibition will present archival documentation of exhibitions by David Troostwyk, Joel Fisher, Jaroslaw Kozlowski, Robin Klassnik & Tom Clark, Susan Hiller, Jeff Instone, Michael Porter, John Blake, Tony Bevan, Tomasz Osinski, Robert Janz, Amikam Toren, Gerald Newman, Avis Newman, Nat Goodden, Sue Arrowsmith, lan McKeever, Nan Hoover, Gerard Hemsworth, Anthony Wilson, Imants Tillers, Rose Finn-Kelcey, Richard Wilson, lan Breakwell, Hanna Luczak, Hannah Collins, Brian Catling, Kate Smith, Jimmie Durham, Edgar Heap of Birds, Melanie Counsell, Willie Doherty, Thomas Holley, Melanie Jackson, Matthew Tickle, Mike Nelson, John Frankland, Xenia K. Dieroff, Lucy Gunning, Sean Dower, Juan Cruz and Graham Fagen, together with information on the gallery's influences such Galerie Akumulatory 2, Poznan.

Going beyond more standard documentary methods, the presentation of film and video of exhibitions and their making, slide projections, audio and text, photographs and models, will also be integrated with actual works by many of these artists. The exhibition spaces will have a formal structure but, as it is virtually impossible to condense twenty years of activity into any fixed summary, all elements will be open to change, from the films being shown, the slides for projection, and the objects and work on display. In addition to the integration of works from the past and present with the archival material, one gallery will house a weekly changing programme of new works by artists represented by or associated with the gallery, providing the most tangible way to sample the artists' current practice. This multi-layered, continually changing structure will hopefully create a fluid, dynamic process of sampling the gallery’s history and relationships that is intended to stimulate the viewer to return again and again.

The impetus for BACKSPACE arose from the need to begin to collate the wealth of information the gallery has accumulated so that it can be formally presented in a fully accessible public archive in the gallery’s presently undeveloped back space. This process requires significant funding, both for the staff to organise the material and for the retrival systems and the archive's physical construction. As a signal of the gallery’s intention to establish this facility the archive process will be active during the exhibition, with new material being added to the displays as it is uncovered. This physical process, and the critical debates generated by the exhibition, will also form the backbone of the production of material for an intended publication investigating twenty years of Matt’s Gallery that the gallery hopes to publish at the end of 1999.

The gallery is actively seeking funds for these projects from the public and private sectors. Interested parties should contact the gallery for details.


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Biography
Born Palencia, Spain 1970. Lives and works in London Studied 1990-93 Chelsea College of Art, London (BA (Hons) Fine Art, Painting); 1992 Hochschule der Kunste, Berlin (Erasmus Exchange) Solo Exhibitions 2005 Juan Cruz is translating don Quijote (again), Peer, London 2004 Three Shows, Tabernacle Theatre, London 2002 National Centre for Contemporary Art, Moscow; Galeria Elba Benitez, Madrid 2001 Application for Planning Permit: Proposal to Build a Metaphor, Melbourne Festival [catalogue]; Portrait of a Sculptor, Matt’s Gallery, London [publication] 2000 We are going to tell lies, John Hansard Gallery, Southampton; Driving Back, Camden Arts Centre, London [CD]; Santa Maria 5 O’Clock, Kettle’s Yard, Cambridge 1999 Juan Cruz, Galeria Elba Benitez, Madrid; Juan Cruz, Matt’s Yard; Girton College Artist Fellow, Matt’s Yard, Cambridge [catalogue] 1998 Sancti Petri, Matt’s Gallery, London; James (BACKSPACE), Matt’s, London [publication] 1997 Juan Cruz, Genesta, London 1996 Translating Don Quijote, Instituto Cervantes, London; A room painted yellow, Genesta, London Group Exhibitions 2005 Spool, Consortium, Amsterdam, curated by Carl von Weiler (forthcoming); Other Plans, Forma, Newcastle, curated by Simon Morrissey (forthcoming); Drawing 200, the Drawing Room, London; Juan Cruz and Sam Fisher, Room, Bristol [publication] 2004 HERE, Camberwell College Library and Resonance FM, curated by Claudia Wegener 2003 Situations, lecture series selected by Claire Doherty, Arnolfini/UWE Bristol; Independence, South London Gallery; Isonerv, The Arts Building, London 2002 TECHNIKEN DES VORUEBERZIEHENS/techniques of passing~alluding, Fotoforum, Innsbruck, curated by Verena Gfader; Geometers, Nylon, London, curated by Simon Morrissey; Landing, Royal Holloway College, University of London [catalogue] 2001 Squatters, Serralves Foundation, Porto [catalogue]; Squatters, Witte de With, Rotterdam [catalogue]; Gymnasium, Bregenzer Kunstverein, Bregenz, Austria [catalogue] 2000 Point of View, Richard Salmon Gallery, London; Installation at British Embassy in Moscow [catalogue] 1999 Word enough to save a life, Word enough to take a life, Clare College Mission Church, London, curated by Simon Morrissey; Juan Cruz/Lucy Gunning, Künstlerwerkstatt Lothringerstrasse, Munich, curated by Susanne Gaensheimer, [catalogue]; A Slip of the Mind, CRAC Languedoc-Roussillon, Sete, curated by Florence Derieux, [catalogue]; Other Arrangements, Duende, Rotterdam, curated by Catsou Roberts [catalogue]; From Where - To Here, Konsthalle Gothenborg [catalogue] 1998 Soon, Het Consortium, Amsterdam, curated by Dermot O’Brien, [catalogue]; A to Z, The Approach, London, curated by Matthew Higgs; Artists of the World, Passage de Retz, Paris; LlathYard, Public sites in Cardiff, curated by Melanie Jackson, [postcards]; Neither/Nor, The Living Art Museum, Reykjavik, curated by Marina Fokidis; BACKSPACE, Matt’s Gallery, London [publication] 1997 Summer Collection, South London Gallery, London [publication]; Within These Walls, Kettle’s Yard, Cambridge [catalogue] 1996 An Eternity With Boundaries: Giovanni Anselmo, Stanley Brouwn, Daniel Buren, Juan Cruz, Genesta, London 1995 Eight, The Tannery, London 1994 The Curator’s Egg, Anthony Reynolds Gallery, London
Fellowships, Residencies, Awards 1999 Kettle’s Yard / Girton College Artist Fellowship, Cambridge; Kettle’s Yard / Girton College Artist Fellowship, Cambridge; Paul Hamlyn Foundation Award Collections Arts Council Collection, Hayward Gallery, London; Government Art Collection; South London Gallery Collection; British Land and Private Collections, London. Membership of professional bodies 1999 ­ 2002 Member of London Arts Visual Arts Advisory Group; 2000 ­ 2002 Member of Arts Council NTP selection Panel Teaching 2000-present 0.6 Lecturer in BA Fine Art (Studio Practice), Visual Arts Department, Goldsmiths College, University of London; 2002/4 Regular Visiting Tutor, Central St. Martins; 1997- present Guest Lecturer & Visiting Tutor at: University of East London, Wimbledon College of Art, KIAD (Canterbury), Bristol University, Middlesex University, Guildhall University, Cambridge University, Oxford University, Glasgow School of Art, Chelsea College of Art, Konstakademi Oslo. Royal College of Art, Bath University, Central St Martins, Camberwell College of Art, Manchester Metropolitan University; 2000 External Examiner for PhD, Royal College of Art, London; 1997 Middlesex University ­ Regular Visiting Lecturer

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Bibliography
2004 Ian Hunt, Juan Cruz & Rut Blees-Luxemburg, Art Monthly, December 2002 Javier Hontoria, El Cultural del Mundo 19/12/2002, p.48 El Pintor en la vida Postmoderna Fernando Castro Flórez; ABC, Blanco y Negro Cultural 28/12/2002 p.26 Geometers, Contemporary Visual Arts 2001 Gabriella Coslovich When Art Provokes The Age, Melbourne, Friday 28 September; Andrew Hunt, Juan Cruz, Untitled No 26 Autumn/Winter, p 40; James Hall, Juan Cruz: Portrait of a Sculptor, Artforum, November; Wil Bolton, [a-n], Juan Cruz: Portrait of a Sculptor, Magazine for Artists, September; David Bussell, I-D, Issue 212, August; Richard Dorment, Juan Cruz: Portrait of a Sculptor, artcriticlondon.com, July ­ September; Simon Morley, Juan Cruz: Portrait of a Sculptor, The Independent on Sunday, 5 August; Jeremy Millar, Juan Cruz, Artforum (online), July - September; Morgan Falconer, Juan Cruz, What’s On, 27 June - 4 July; Jessica Lack, Juan Cruz, Guardian Guide, 30 June - 6 July 2000 Richard Dorment, Britain Shines in the Art of Diplomacy, The Daily Telegraph, 31 December; Mark Currah, Juan Cruz - Camden Arts Centre, Time Out No.1552; Laura Cummings, Juan Cruz - Camden Arts Centre, The Observer, 30 April; Martin Herbert, Juan Cruz - Camden Arts Centre, Tema Celeste, July - September; Jessica Lack, Spanish folk songs, The Guide, The Guardian, 26 February - 3 March 1999 Here Comes the 21st Century, The Daily Telegraph, 31 December; The Defining Faces of 1999, Scene Magazine, Christmas edition; Adrian Searle, Gifted, The Guardian, October; Martin Pesch, Lucy Gunning - Juan Cruz, Kunstforum Bd. 147, September-November; Simon Morley Word Enough to Save a life/Word Enough to Take a Life, Contemporary Visual Arts, August; David Burrows, Word Enough to Save a life/Word Enough to Take a Life, Art Monthly No. 228, July/August; Abel H. Pozuelo, Juan Cruz, El Cultural de la Razon, 30 May; C.A. Juan Cruz. Escenas y Acotaciones, El Punto de las Artes, 30 April -6 May 1998 Maite Lores, Other Voices, Other Places, Contemporary Visual Arts; Patricia Bickers, Vision d’une Decennie: L’art Contemporain en Grande-Bretagne 1988-1998, Beaux Arts, No. 168, May; Sophie Berrebi, Alternative Spaces, Art Press, No. 235, May; Zacht drumstel uit jonge Britske kunst, De Volkskrant, 4 March; Maite Lores, Juan Cruz, Matt’s Gallery, Contemporary Visual Arts, Issue 18; David Musgrave, Juan Cruz, Matt’s Gallery, Art Monthly No. 214, March; Mark Currah, Juan Cruz, Matt’s Gallery, Time Out, No. 1434, February; Ruiko Harada, Juan Cruz, Matt’s Gallery, Eikoku News Digest, No. 624, January; Maite Lores, Other Voices, Other Places, Contemporary Visual Art, Issue 17 1997 John Tozer, Within These Walls, Kettle’s Yard, Art Monthly No. 209, September; Jeremy Melvin, Within These Walls, Kettle’s Yard, Architect’s Journal, 14-21 August; Laura Cummings, Within These Walls, The Observer, 10 August 1996 Martin Herbert, Juan Cruz, Genesta, Time Out, No. 1375, December; Sacha Craddock, Juan Cruz, Genesta, The Times, 10 December; Michael Archer, An Eternity with Boundaries, Art Monthly, No. 200, October; Andrew Cross, Juan Cruz, Translating Don Quijote, Art Monthly, No. 197, June Selected Catalogues and Publications 2005 Juan Cruz: A translation of Niebla (fog) by Miguel de Unamuno, Book commissioned by Forma, Newcastle; Victim edited by Claire Hooper, Published by ZAZIE ISBN 0-9551227-0-8; Artists Stories, Edited by Jeremy Ackerman and Eileen Daly, published by Serpent’s Tail; Tacita Dean and Jeremy Miller, Place, Thames and Hudson, London, ISBN 0-500-93007-4; Michael Phillipson, Lament ­ Juan Cruz and Sam Fisher at Room, Room Books, Bristol, ISBN 0-9549915-1-6 2002 Various Authors Landing: eight collaborative projects between artists and geographers, Royal Holloway, University of London ISBN 0 902194 58 5; Bartomeu Mari, Juan Cruz, Tanja Elgeest, Angela Ferreira, Filipa Oliveira, Squatters, Witte de With Rotterdam ISBN 90 73362 53 9; Juan Cruz Application for Planning Permit: Proposal to Build a Metaphor Melborne Festival ISBN 0 9580392 0 8 2001 Alexia Defert, Juan Cruz: Application for Planning Permit, Melbourne Festival; Dave Beech, Wolfgang Fetz, Jane Lee, Peter Lewis Gymnasion Bregenzer Kunstverein, Bregenz ISBN 390085193X; Portrait of a Sculptor, Matt’s Gallery, London [monograph] ISBN: 0 907623 38 7; Bartmeu Mari, João Fernandes, Vicente Todoli, Miguel Von Haffe Perez, Squatters, Serralves Foundation, Porto ISBN 972 739 0935; Game and Theory of the Duende, [Artist’s Pages] Afterall, London, Issue 3 2000 Melanie Jackson and various authors, Lost Horizons, Camberwell Press, London ISBN 0 9536395 5X; Driving Back, Camden Arts Centre, London [CD] ISBN 1 900470 144; The British Embassy, Moscow, The Foreign and Commonwealth Office, London ISBN 0 9503359 804 1999 Juan Cruz, Ian Hunt and Simon Wallis, Kettle’s Yard, Cambridge [monograph] ISBN 0 907 074 76 6; Andrew Cross & Susanne Gaensheimer, Juan Cruz/Lucy Gunning, Künstlerwerkstatt Lothringerstrasse, Munich Other Arrangements - Juan Cruz, Emma Kay, Janice Kerbel. Catsou Roberts, Duende, Rotterdam From Where - To Here, Henry Meyric-Hughes and Svenrobert Lundquist, Konsthallen Goteborg 1998 James, Matt’s Gallery, London Fever, Manifesta 2 Catalogue, Andrew Cross, Rotterdam 1997 Within These Walls, Simon Wallis, Kettle’s Yard, Cambridge Published writing 1999 Here and Now, (catalogue essay) Henry Moore Institute, Leeds ISBN 1 900081172; Joao Penalva, Centro Cultural de Belem, Lisbon, 1999 ISBN 972 8176 44 9; Disrupting the Scene, Cambridge Darkroom, Contemporary Visual Arts, Issue. 21, 1998 Carl von Weiler, Museum of Installation, Art Monthly, No. 221, November; Carl Andre & Melissa Kretshmer, Botanic Gardens, Edinburgh, Art Monthly, No. 220, October; Roger Ackling, Annely Juda Gallery, Art Monthly No. 218, July - August; Pierre Bismuth, The Showroom, Art Monthly No. 215, April; Hearing Voices: Art Beyond the Visual, Art Monthly No. 214, March; Lolita, Adrian Lyne, New Art Examiner, Chicago, June; Roy Voss, Richard Salmon Gallery, Contemporary Visual Art, Issue 20, October; Dermot O’Brien, Peninsula, Eindhoven 1997 Gavin Bryers & Juan Munoz, Artangel, Art Monthly No. 211, November; Vito Aconcci, Film & Video Umbrella, Art Monthly No. 210, October; Kate Belton, Jason & Rhodes Gallery, Art Monthly No. 209, September; Guillermo Kuitca, Timothy Taylor Gallery, Art Monthly No. 208, July-August; Fiona Banner & Bridget Smith, Frith Street Gallery, Art Monthly No. 207, June; Antechamber, Whitechapel Art Gallery, Art Monthly No. 206, May; Richard Tuttle, Camden Arts Centre, Art Monthly No. 203, February; Descriptions of Works in the Collection of the South London Gallery, London 1997 ISBN 1 902036 00 X; Katrine Herian, Back of Beyond, Angel Row Gallery, Nottingham ISBN 0 900943 96 3- 1996 Made New, City Racing, Art Monthly No. 202, December; The Daubers, Ian Hunt, Art Monthly No. 200, October; Helen Robertson, Duncan of Jordanstone Gallery, Untitled, Summer; Some Drawings: From London, Art Monthly No. 198, July - August; Graham Gussin, Lotta Hammer Gallery, Art Monthly No. 196, May; Ian Whittlesea, Cairn Gallery, Art Monthly No. 195, April; Peter Doig, Victoria Miro Gallery, Art Monthly No. 194, March; Siobahan Hapaska, ICA, Art Monthly No. 193, February; Frederico Garcia Lorca, The Last Poems, Translated by Juan Cruz, Genesta London; Merlin James; critical paintings, Kingston University Press; New Contemporaries 1996, New Contemporaries, ISBN 0 951555 65 0 1995 Elemental, Newlyn Art Gallery, Art Monthly No. 192, December; Simon Tegala, Laure Genillard Gallery, Art Monthly No. 191, November; Helen Robertson, Barbican Foyer Gallery, Art Monthly No. 190, October; Matthew Tickle, Matt’s Gallery, Art Monthly No. 189, September

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