| Bibiana Crespo :
Senior Lecturer at the Faculty of Fine Arts at the University of Barcelona, Spain
Bibiana Crespo graduated at the Faculty of Fine Arts at the University of Barcelona (Spain) in 1994 and finished her PhD on ‘Artist’s Books’ in 2000. Bibiana also graduated in Music Studies at the Liceu Music Conservatoire of Barcelona in 1995.
She is a Drawing Senior Lecturer and leader of the postgraduate course ‘Dibujo del Natural, Nivel Superior’ at the Faculty of Fine Arts in Barcelona (University of Barcelona) and the Principal Investigator of the group ‘Painting, Drawing and Printmaking versus new Procedures and Materials’. Most of the out comes of her developed research have been published in essays and articles in specialized humanities journals and books (see the links). Besides she is External Examiner of the Master in Art MA Art, Media and Design by Project - Faculty of Creative Arts, University of the West of England (Bristol, UK) 2009-2012 and she has recently been carrying out research as a visitor teacher at the Escuela Nacional de Artes Plasticas de la Universidad Nacional Autonoma de Mexico (Mexico City). As well as she has given lectures at many International Universities as the Accademia di Belle Arti di Bologna (Bologna, Italy), the National Academy of Arts of Sofia (Sofia, Bulgary), tha Faculty of Creative Arts, UWE (Bristol, UK)... and has participated at different Artist’s Residence Programmes like the Art and Creation Centre of Lâzarea (Romaia, 2008 and 2010), the Vyom Art Centre in Jaipur (India, 2009), the Sixth Kepes Symposium in Natural Art in Noszvay (Hungary, 2010) and the Sandarbh Ineternational Residency in Partapur (India, 2011).
Bibiana is also an active practitioner and her work deals with the graphic and plastic analysis of the musical works of musicians as J.S. Bach, F. Chopin, I. Albeniz and especially John Cage. As an example, she does not only look at Cage’s conventional dodecatonic music and performance scores but also at his music poems which in the different sizes, letterpresses and body of the letters involve melodic, harmonic and timbric variations and subtleties. Additionally, she develops multimedia projects with socially compromised content in which she turns the spectator/viewer into actor/participant of the projects themselves.
Solo and selected group exhibitions include:
error 3 SAFIA Gallery. Barcelona / Jawahar Kala Kendra. Jaipur, India (2009)
Traces of Lazarea’s Art Camp Performance. 34th Korké International Art Camp’s. Lazar Castle. Lâzarea, Romania (2008)
Readable/Unreadable Reading About... Artist's Book On-Line. Curator: Sarah Bodman (2008)
De Arte. International Fair, Maes Gallery. Palacio de Exposiciones. Madrid (2007)
Eat the Art. Sala Vinçon. Barcelona (2006)
‘2 Visions’. Traç d’Art Gallery. Sabadell, Barcelona (2005)
Mar de Mares. Project. Sant Joan d’Espí, Barcelona (2004)
‘BCN>Bollywood>BCN’. Multimedia Installation. CCCB for the BAC; Barcelona Art Contemporary;. Centre de Cultura Contemporània de Barcelona. Barcelona (2003)
Ready, Steady, Go. Multimedia Installation. Underground of Barcelona. Barcelona (2003)
Mediterrània III. Passerelle Artistique. Villa des Arts. Casablanca, Moroco (2003)
‘People’. Multimedia Installation. CCCB for the BAC; Barcelona Art Contemporary;. Centre de Cultura Contemporània de Barcelona. Barcelona (2002)
MUSICAGE 03 May. ARNAU Gallery. Barcelona (2003)
Traç d’Art Gallery. Sabadell, Barcelona (2001); Espai Blanc Gallery. Barcelona (2000)
Her present work, ‘anatomical musical plates’, turns out to be a manifesto defending the scientific-technical drawing in a purest descriptive style of human anatomy. It is also a plea in favour of electrography and copy-art. Furthermore, it is a visual metaphor about musicality of the joints of the human body and their visual representation. In addition, this piece debates the absurd irony of the subject of the drawings and mastery of execution, the sarcasm with which the art market is treated by claiming a purchasing catalogue in favour of the democratization of art and finally the unavoidable complicity when is absorbed by the same art trade.