London LASER 07
Tuesday 17 February 2015
6.30 - 9.00pm (registration from 6pm)
D115/117, Central Saint Martins, University of the Arts London, 1 Granary Square,
Kings Cross, London
N1C 4AA









The seventh London LASER evening of talks at the intersection of art and science hosts interdisciplinary curator and writer Bronac Ferran, scholar and artist Timothy J Senior, and kinetic light sculptor Paul Friedlander, guest chaired by Laura Plana Gracia.

The event is free but booking is essential: eventbrite link to go here

Bronac Ferran is a curator, researcher and writer who works at the interfaces between arts, science, technologies and other disciplines. She set up and led the Interdisciplinary Arts Department at Arts Council England until 2007 and established numerous national and international partnerships and initiatives including the Arts Council England/AHRC Art and Science Research Fellowships Programme and the ACE/RSA Arts and Ecology initiative. She has been on juries for Transmediale (2009) and Ars Electronica Hybrid Arts (2009 & 2010) and a Senior Tutor Research at the Royal College of Art. In 2012 she curated 'Poetry Language Code' and in 2015 is co-curating 'Graphic Constellations: Visual Poetry & the Properties of Space' at the Ruskin Gallery in Cambridge. Her presentation draws on two texts, 'Mind Over Media' commissioned by the RCA, FACT and Liverpool University Press in 2013 and 'Neuromorphobia' to be published by Archive Books Berlin (ed.Warren Neidich) later this year based on her talk at the 'Psychopathologies of Cognitive Capitalism' conference, Goldsmiths, 2014. boundaryobject.org  @floatingstones

Dr Timothy J. Senior is a scholar and artist, currently serving as a Knowledge Exchange Researcher for the Arts and Humanities Research Council. His work asks how contemporary forms of practice in the arts, sciences and humanities might be opened up to new collaborative influences. Following his D.Phil. in Systems Neuroscience (Oxford 2008), he has explored these issues through an artist residency at Duke University (US) and visiting lectureships at Jacobs University Bremen (Germany) spanning the arts, neuroscience, digital humanities, and the social and political sciences. In 2012 he was awarded a Junior Fellowship at the Hanse Institute for Advanced Study, concluding with an internationally-oriented conference and exhibition on performative methods in scientific practice. Tim will be taking up this theme in his talk, exploring how performance-based methods may revolutionize the study of complex systems and our understanding of disciplinary research.
art-sci.info

Paul Friedlander is an independent kinetic light sculptor and scientific artist based in London. He will give a telescopic talk on his career spanning more than 40 years from his early influence by Cybernetic art, his involvement with stage lighting for avant-garde music and subsequent development of his unique artistic media. The talk will be followed by a performance with hand held kinetic sculptures and chromastrobic light, a form of light he invented. Paul studied physics and mathematics at Sussex University and fine art at Exeter Art College. His youthful ambitions to become a cosmologist have continued to influence his art, exploring mathematical and scientific ideas in light. Some of his earliest work was based on catastrophe theory and chaos. He has a continuing interest in waves, creating many kinetic works using their mathematics in custom software he writes as part of his hybrid art.
paulfriedlander.com

Guest chaired by researcher and curator, Laura Plana Gracia.




LASER is a program of evening gatherings, which bring together eclectic guest speakers working at the intersections of art, science and technology. Running successfully in the US for several years, London LASER is the first of the series to take place in Europe. Free of charge and open to the public, London LASER encourages lively discussion in an informal academic setting. London LASER is hosted by University of the Arts London (Central Saint Martins MA Art and Science and Lens) and University of Westminster (Broad Vision art/science research and learning and CREAM), in association with Leonardo/ISAST (the International Society for Art, Science and Technology). LASER is a project of Leonardo® /ISAST.

Conference - Archives 2.0: Saving the Past, Anticipating the Future National Media Museums

http://www.nationalmediamuseum.org.uk/Collection/ArchivesConference



- Archives 2.0 - Preliminary session - emerging researcher panel: The preliminary session
(Mon 24 Nov) for Archives 2.0: Saving the Past, Anticipating the Future - our
international conference on the challenges and opportunities around the
acquisition and management of visual archives by cultural institutions. 
This session will take place from 5.30pm - 7.30pm on Monday 24 November
 at the University of Leeds.  Speakers for the emerging researcher panel

Pre-digital archives: discovering a lost past
Dimitra Gkitska, MFA in curating student, Goldsmiths College, University of London

Conservation of media art, institutions and practices in museums in the digital age
Laura Plana Gracia, lecturer, researcher and curator, University of Sunderland

Archival knowledge and the documents of dance
Laura Griffiths, AHRC CDA candidate, University of Leeds

Archives 2.0 - programme for day 1 Day 1 (Tue 25 Nov):  our international conference on
the challenges and opportunities around the acquisition and management of
visual archives by cultural institutions.

Jo Quinton-Tulloch (Director, National Media Museum)
Paul Goodman (Head of collections projects, National Media Museum)
Dr Katharine Martinez (Director, Center for Creative Photography, University of Arizona)

-Session 1: Photography archives - case studies
Chair: Anne McNeil (Director, Impressions Gallery)
The nature of the archive
Richard Ovenden (Bodley's Librarian)

Photographers' archives and their legacy, and the role of universities
Val Millington (Photographers' Archives and Legacy Project)

The Daniel Meadows archive at the Library of Birmingham
Pete James (Head of photographs, Birmingham City Council)

Surviving tsunami: a project in Japan to salvage and digitize extremely damaged photographic archives
Keishi Mitsui (Curator, Tokyo Metropolitan Museum of Photography)

-Panel discussion: 
Photography as markers for navigating memories of the recent past
Grete Dalum-Tilds (Associate lecturer, University of Northampton)

Archives as praxis - artplayer and the capturing and sharing of culture through communities of interest
Roger McKinley (Research and innovation manager, Foundation for Art and Creative Technology [FACT], Liverpool)

Multisensory archives of spaces
Tom Jackson (Research associate, School of Media and Communication, University of Leeds)

Jessica S McDonald (Nancy Inman and Marlene Nathan Meyerson curator of photography, Harry Ransom Center, University of Texas at Austin)

- Session 2: Private and public archive ownership
Chair: Colin Harding (Curator of photography and photographic technology, National Media Museum)

The John Wall archive of the Directory of British Photographic Collections, 1972
Professor Val Williams (Photography and the Archive Research Centre at University of the Arts, London)

Private passions, public pleasures: the life of Edward Linley Sambourne
Daniel Robbins (Curator, Leighton House Museum, London)

The Arthur Ransome archive at the University of Leeds
Simon Popple (Deputy head of the Institute of Communications Studies, University of Leeds)
- Session 3: Making the invisible visible - activating archives, institutions and platforms
Chair: Professor Ryan Bishop (Professor of global arts and politics at the University of Southampton)

Sunil Manghani (University of Southampton)
Kristoffer Gansing (Artistic director, transmediale, Berlin)
Marq Smith (Founding editor of the Journal of Visual Culture and director of doctoral studies at the Royal College of Art)
John Stack (Head of digital, Tate)
Christina Duffy (Imaging scientist, British Library)

- Summary and closing remarks
Paul Goodman (Head of collections projects, National Media Museum)

Archives 2.0 - programme for day 2. Day 2 (Wed 26 Nov) of Archives 2.0: Saving the Past, Anticipating the Future - our international conference on the challenges and opportunities around the acquisition and management of visual archives by cultural institutions.

-Keynote speaker
Dr Ulrich Pohlmann (Curator of photography, Münchner Stadtmuseum)

- Session 3: Community engagement
Chair: Simon Popple (Deputy head, Institute of Communications Studies, University of Leeds)

Remembrance and (re)membering: contrasting perspectives on the Sunbeam Photographic Collection
Karen Sheperdson (Principal lecturer in photography at Canterbury Christ Church University and director of South East Archive of Seaside Photography)

From analogue collection to participatory digital archive
Susan Lambert (Head of Museum of Design in Plastics, Arts University Bournemouth)

The Pararchive Project
Fiona Philip (Lecturer, Institute of Communications Studies, University of Leeds)
Daniel Mutimba (Researcher, Pararchive Project)
Dr Alison Hess (Associate curator of research and public history, Science Museum, London)
- Sessions 4a and 4b will be held in parallel
Session 4a: Film and digital archives and archival practice
Chair: Giorgia Aiello (Lecturer, international communications, Institute of Communications, University of Leeds)

Deep film access: the archiving of film-making expertise and collaborative endeavour
Dr Sarah Atkinson (Principal lecturer in film and media, and the assistant head of School for Digital Transformations, University of Brighton)

Dealing with hybrid heritage: curation, curatorship, stewardship and cultural management
Luca Antoniazzi (Researcher, Institute of Communications, University of Leeds)

Turning a national archive digital by degrees
Helen Edmunds (Collections manager, BFI National Archive) and Charles Fairall (Head of conservation, collections and information, British Film Institute)

Searching for District 9 in the archives: an archaeology of a film transmedia campaign
Kim Walden (Senior lecturer in film and television cultures, University of Hertfordshire)

Panel discussionSession 4b: Curatorship of art and printed archives
Chair: Greg Hobson (Curator of photography, National Media Museum)

Book Works archive: towards a lexicon of content
Karen Di Franco (Independent artist and archivist)

Digital media art and the artists' book collections: the challenges around the acquisition of analogue/digital/mixed archives
Sarah Cook (Fellow, Duncan of Jordanstone College of Art and Design, University of Dundee)

The curatorial landscape of the Slade Archive Project
Liz Bruchet (Researcher, Slade Archive Project, University College London)

The difficulties of archiving, preserving and re-exhibiting vintage video artworks
Adam Lockhart (archivist, Duncan of Jordanstone College of Art and Design, University of Dundee)

Panel discussion

- Sessions 5a and 5b will be held in parallel
- Session 5a: Democratisation of archives

The use of new technologies for photography within the fourth archival paradigm
Gavin Maitland (Freelance writer, researcher and lecturer in photography and visual culture)

Democratising or privileging: the future of access to archives
Dr Craig Gauld (Administrator, Centre for Archive and Information Studies, University of Dundee)

The researcher as quasi-curator-archivist
Geoff Blackwell (Independent researcher and council member, The Royal Photographic Society)

- Panel discussionSession 5b: Archive copyright
Chair: Tim Padfield (Copyright for Archivists and Records Managers)

Copyright is changing for archives
Tim Padfield (Copyright for Archivists and Records Managers)

Managing copyright in museums: some recent case studies
Dr Ellie Pridgeon (Director, Consultant Archivist Ltd)

What's the bigger picture? Copyright and balancing the rights of private assets and public treasures
Katrina Stokes (Donor relations manager, British Film Institute) and Annabelle Shaw (Head of rights and contracts, British Film Institute)
- Session 6: The archives in the corner of the room - television and the archives
Chair: Bill Thompson (Head of partnership development, BBC Archives)

Archive: past, present future
Anthony Wall (Series editor of Arena, BBC flagship arts programme 1985-present)

Panel discussion: the BBC as community archive
Anthony Wall
Tony Ageh (controller, BBC Archives and Digital Public Space)
Cathy Williams (head of collections knowledge, The National Archives)

Summary and closing remarks
Paul Goodman (head of collections projects, National Media Museum)

INTERVIEWS - TEKNO - ELECTRONIC MUSIC

INTERVIEW TO JEFF MILLS

On its 20th anniversary, Axis Records presents SEQUENCE, a compilation book and a CD format.

"What began as a dance music label has evolved into an undeniable creative force for his role in the quality of shape, colour and textures of dance music, probably the best we know today and tomorrow. Formed in 1992, the acclaimed Techno DJ, producer and artist Jeff Mills, formed Axis, the independent label that continues to be one of the best producing electronic music, in the limits of creation and perception of the Cosmos. Axis is the science of body and soul. Following 20 years of fervent activity, the  archive of all his work and his projects have been collected in a collection of art, photographs and designs. Axis Records is in 320 pages 30x30cm. hardcover book with USB card with 30 tracks selected by Jeff Mills to represent the history of Axis Records Between 1992-2012. Out on December 10, 2012. Double CD compilation of 24 tracks released as the book release simultaneously - www.axisrecords.com

P. Hello Jeff Mills. Welcome!
R. Hello. Thank you!. 

P. What does it make your sounds particularly special?
I don’t really know the answer to this question. I try to relay what I feel about subjects through music and sound. Why it sounds this way might have something to do with
my musical history that pre-dates today’s DJ culture. I still try to play electronic machines like instruments, not like programming a computer.   

 Now is 20 years of Axis Records presented in a book and in a CD, titled Sequence. Tell us about why did you decide to make it?
R. We thought that two decades was a good number of years in our history to look back and reflect on what had been attempted and created. 



P. Your last job is the Alpha Centauri video in collaboration with VJ Heleen Blakeen. It is an excellent video art work. How has it arisen?
R. The idea of Alpha Centauri was an idea that we had been thinking of for quite a while. We felt that by having an outlet dedicated for images and film would be greatly helpful for people to understand what Techno music looks like. The initial contribution of Heleen Blakeen was a perfect beginning. We asked and offered Heleen to create a film every 3 months of 2013. The next will debut 4/1/2013.   


P. Your music is very qualitative. Have you ever received any offer from labels such as EMI or Universal?
R. No, I’ve never been. I always assumed that those companies specialize in making very large sums of money so, the more people the music appeals to, the more money the company makes. I never thought my music has that mass appeal. 

P. Kraftwerk is also in EMI. They are the pioneers of the "Computer Music", low electronic and techno sounds. Is this also your music style?
R. Bands like Kraftwerk made their mark in the Music world when major labels took chances and were more interested in artist development. Those companies like EMI saw a value in bringing people something new and different. By the time I began my career as producer that progressive thinking larger companies had basically disappeared when the very creative A&R people were replaced by people that were better and making money than discovering innovation. This task was left for independents record labels.     


P. Your attitude as a DJ is admirable; you have created your own label, one of the best known independent labels. How busy have these years of work been?
R. Very busy.  We’re usually working on numerous projects at the same time. I’m constantly coming with concepts and new projects to make music for. I never take a break. We’re always planning and preparing.      


P. Your works are stunning, magical, with deep sounds, transcendent, always mysterious, and a bit visionary. What do you pretend? What are you looking for?
R. I believe what I’m really searching for has very little to do with people. I suppose the same as people dancing in a club aren’t really there for the DJ, but they’re there for a psychological and mental release. I’m suspect I’m trying to locate my inner self by creating music.  


P. Your works are still being cutting edge sounds, very blues and tectonic textures. Rapid and profound, they move us into the matrix of sound. How have you get it? What technique do you use?
R. I think it is all from the way I see reality and the future. I generally use a technique of wiping away and trying to forget what I’ve done in the past so that I have more chances to make something new. I read and follow a lot of science fiction.

P. Your mix is Techno, with the bass lines always strong, along experimental sounds from recent years. Which is the secret of your success?
R. I don’t think “success” is the right term because I’m never sure if tracks are really being understood. In fact, I’m not very good at giving people what they want. I’ve rarely made music for this objective and a large acceptance and understanding does not show in the sales of our releases. I try to stay honest with my creative and technical capacity and never believe that what I’m doing is absolute – there is much room to expand.    

P. The Bells is a classic, a hit everyone could recognize. How many years have passed since The Bells?
R. I made “The Bells” back 1993, but did not officially release it until 1995. It was a track that was made part of a collection of music I was making for only for myself to play as DJ. It worked so well and effective, that I thought it might be something other DJs could use. Those other tracks I was making for myself eventually developed into the label Purpose Maker.

P. In Sequence we are in front of a work between human and machine? Maybe between life and death?
R. Yes, this is correct. It is a movement between two points. Like the Exhibitionist DVD we released back in 2005, I thought this was important to create and present as a piece of history. A archive of the past to be reviewed and examined later.    

P. How do you use music to open doors and discover universes?
R. I believe that doors to discover have always been open. It’s a matter of us taking the time to connect to realize. I think the structure of music has a formula of reaching this realization. Or at least an conceivable impression. 


P. You will be playing at MUTEK.es what will you do there? Any surprise.  
R. The presentation at Mutek.ES will be a concept entitled “Oneness”. A musical exploration on the subject of Singularity, focusing on the transformative existence from human to man - machine.   

P. Thank you very much for you time. Best wishes.
R. Thank you very much.

...................................................................................................................................................................

Karl Hyde (Underworld) presents “Edgeland”






Exposicio Guillem Ramos Poqui . RCA




Josep Fèlix Bentz, President del Reial Cercle Artístic de Barcelona, es complau a convidar-vos a la inauguració de l’exposició el proper 
Dijous 19 de juny a les 19.30hores
GUILLEM RAMOS-POQUÍ
OBRA RECENT


Exposició del 19 de juny al 6 de juliol de 2014
Amb la presència 
d’Arnau Puig, J. Corredor-Matheos, 
Daniel Giralt-Miracle i Pilar Parcerisas

Comissariada per Joan Abelló Juanpere i 
Laura Plana Gràcia


Horaris Sala d’Exposicions
de dilluns a diumenges de 10 a 20 h
Arcs, 5 // 08002 Barcelona
T. +34 93 301 46 76
info@reialcercleartistic.cat
www.reialcercleartistic.cat


El Reial Cercle Artístic de Barcelona té el plaer de presentar la obra de l'artista català Guillem RamosPoquí.

Guillem RamosPoquí va néixer a Barcelona a on va fer la carrera de Belles Arts. Durant la dècada de 1960 va ser una figura destacada en l’avantguarda catalana de l’Art Conceptual i Povera. Després d'haver estat guardonat amb diverses beques d'art que el van portar a París i Nova York, es va establir a Londres al 1968, on va estudiar a Slade i Royal College of Art. El 1995 va rebre el seu Doctorat en Belles Arts per la Universitat de Barcelona. A Londres va ser Director de Belles Arts a Kensington and Chelsea College (19902004) i Professor de Pintura Avançada al Morley College (20042012). Ha realitzat nombroses exposicions a Londres i a l’estranger.

A través d'una interacció poètica de metàfores visuals, la seva obra articula una visió nova
i important en la pintura que aborda qüestions fonamentals sobre la naturalesa de l'art, la
realitat i la percepció. Les seves composicions meditatives tenen una qualitat visual
hipnòtica, en part degut a la seva aparent simplicitat i puresa formal. Però, de més a prop,
la superfície està plena de l'energia nerviosa que neix de la interacció amb textures
complexes, materials i traços expressius.

El seu treball actual és una síntesi i culminació dels signes formals, símbols i temes que es
troben al llarg de la seva obra.

L'ús de contrast de tècniques com la pintura al tremp a l'ou, la encàustica, l'oli i l'acrílic, aconsegueix una rica varietat de textures, mentre que l'ús de la fulla de plata i fragments de miralls contrasta amb el gra subtil de la tela. Espais multidimensionals es
juxtaposen amb les formes i les imatges que suren lliurement i s'interconnecten a través de
seqüències de colors. Les seves pintures collages compten amb elements efímers (des
de rellotges trencats fins reproduccions d’Antics mestres), convidant a una varietat d'interpretacions i lectures. Al centre de la seva obra es troba el desig de confrontar i
explorar temes contemporanis com la decadència cultural i l'alienació urbana, alhora que
convida a sorgir allò màgic i metafísic a través de la superfície del llenç.

Josep Fèlix Bentz
President del Reial Cercle Artístic de Barcelona

Joan Abelló Juanpere
Relacions Institucionals del Reial Cercle Artístic de Barcelona.



GUILLEM RAMOS-POQUÍ. OBRA RECENT

En observar l'evolució i la resposta personal de les obres d'art de Guillem Ramos-Poquí, des dels anys 60 fins a les més recents pintures-collages, ens trobem davant d'un convincent paradigma on explorar els canvis en la nostra cultura i societat, fortament vinculats a la relació entre l’art, la realitat i la vida. 

Aquest procés en l’obra de Guillem Ramos-Poquí, es reflecteix en el desenvolupament dinàmic i orgànic de la seva obra, des dels orígens de l'Art Povera a Catalunya; als aspectes visionaris i poètics del seu treball durant els 80's; i en el seu treball experimental amb la tècnica del gravat i els mitjans digitals dels anys 90’s. Tot això, culmina en les seves últimes pintures i pintures-collages, on l'artista està immers plenament en l’actualitat i on representa una composició orgànica del món en una tela on les coses ordinàries adquireixen un significat màgic o metafísic.

El 2001, el crític català, poeta i historiador de l'art José Corredor-Matheos, va escriure: "Hi ha artistes precursors que, un cop imposades les seves propostes, les forces d'innovació es queden enrere, són relativament pocs els que queden oberts als nous temps per imposar noves iniciatives. Entre aquests últims hi ha, sens dubte, Guillem RamosPoquí." (Introducció al catàleg "Guillem RamosPoquí. Collages, pintures, assemblatges, collages digitals. París, Barcelona i Londres, 1965-2001, Colville Col∙loqui Gallery Publications, Londres. Text David Rodway).

Guillem RamosPoquí és Doctor en Pintura per la Facultat de Belles Arts de la Universitat de Barcelona Sant Jordi, 1995. Durant els anys seixanta, 1965, va viure a París, guardonat pel Govern Francès amb un estudi a la Cité International des Arts, on va formar part del grup d'artistes joves catalans format per Miralda, Rabascall, Benet Rossell i Xifra. El resultat del procés creatiu es va exposar en forma de collages i demés obres a Barcelona al 1967 i a Londres al 1968. El crític d'art i historiador Alexandre Cirici va definir Guillem Ramos Poquí com un dels principals artistes emergents del cercle d’art d'avantguarda catalana dels anys 60 i com l'iniciador de l’Art Povera i l'Art Conceptual a Catalunya. Entre els artistes joves del grup d'avantguarda catalana que vivien entre París i Barcelona s’incloïa Antoni Llena, Zush (Albert Porta), Silvia Gubern, Francesc Artigau, Robert Llimós, Arranz Bravo i Josep Niebla.

Guillem RamosPoquí viu i exposa a Londres des de 1968. Des de llavors, s’ha
dedicat a la pintura i a les arts amb posicions prominents com la de Director de Belles
Arts del Kensington i Chelsea College. Durant aquests 30 anys de llarga i creativa
trajectòria artística, la seva obra ha efectuat un recorregut i un canvi estètic prominent,
tractant diferents tècniques i mitjans que mostren les transformacions de la societat amb
un posicionament sempre crític degut al distanciament significatiu de la perspectiva que
adopta. Aquesta metamorfosi operativa de la realitat natural s’aprecia en forma satírica,
grotesca i còmica en les pintures dels 80’s, mentre que en els fotomuntatges digitals dels
anys 90’s adopta un estil més nihilista i/o humanista.

Als inicis del nou segle, a l’any 2000, dona un gir definitiu cap a la pintura completament determinat i influït per relacions personals que havia mantingut durant els anys 1690s i 1970s, amb personalitats artístiques del món de l’abstracció com Mordecai Ardon (M.Bronstein), Director del Museu d’Art Modern de Jerusalem, millor alumne de Paul Klee; Georgy Kepes, fundador del New Bauhaus al Art Institute of Chicago, juntament amb Laszlo Moholy Nagy; o Ola Wolpe (Ola Okuniewska) qui va estudiar amb Johannes Itten a Viena, i a Bauhaus, amb Itten, Klee i Kandinsky. D’aquí que la obra de Guillem RamosPoquí és un exercici imprescindible en l’art de tendència abstracte, entenent aquest estil pictòric com forma, color i composició per entrellaçar una narrativa universal.

La obra recent de Guillem RamosPoquí es caracteritza per teles de petit i mitjà format, realitzades a partir de 2010. Són obres on segueix configurant el pla de la pintura
en un nivell abstracte, mostrant la doble versatilitat de l’art, és a dir desemmascarant la
forma i el contingut en una transcendència mística de la matèria, desvelant; amb una
correlació estètica amb el moviment poètic interior que intensifica el significat mostrant
una doble visió de l’univers entorn. Així, simbolisme abstracte, geometria i dialèctica de la
imatge són emprats per travessar el transfons de les formes i la matèria que les
embolcalla.

Finalment cal dir que la trajectòria artística de Guillem RamosPoquí és part de la història, de la memòria cultural del marc català de l’art català d’avantguarda . És també, un mèrit històric, una forma d’exili cultural a la recerca de respostes per al desenvolupament de una obra artística total, unitària i completa.

Laura Plana Gracia. Recerca cultural i comissària independent d’exposicions


Guillem Ramos-Poquí
15. The Name of Things. 2013
33.7cm X 26.5cm (13 1/4" x 10 3/8") 
Técnica mixta sobre tela 

Plata acrílica, gráfit, tinta, cera i oli


L'exposició al Reial Cercle Artístic de Barcelona comptarà amb una selecció de l'obra de Guillem Ramos-Poquí 1965-2001 de les col•leccions privades a Barcelona de Jordi Rodón Esteve i Joan Proubasta Renart.  Per veure més de l'obra de Guillem Ramos-Poquí podeu visitar les seves pàgines web a www.ramos-poqui.com


Biografia catalana succinta:

Alexandre Cirici: 'La nova plàstica catalana: Abstracció significativa: Ramos-Poquí' Serra D'Or, maig 1968 Alexandre Cirici: 'Nueva pintura catalana' text catàleg exposició, Casa de la Cultura Cuenca, abril 1968 Alexandre Cirici: 'Ramos-Poquí el 1971' text catàleg expo.Institut d'estudis nord-americans, Barcelona-Madrid,1972  

 Alexandre Cirici: 'Objectes Pobres, objectes conceptuals: iniciadors'. Serra D'Or, febrer 1972.


Alexandre Cirici: 'L'art català contemporani'. Edicions 62 Barcelona 1970, pp. 294, 296, 372.
José Corredor Matheos: 'Història de l'art català Vol. IX (La segona meitat del segle XX)' Edicions 62, 1996, Precursors de del art Povera, manifestacions de lo efímer, els objectes de Ramos-Poquí, pp. 91-92



José Corredor-Matheos: 'Guillem Ramos-Poquí. Collages, Paintings, Assemblages, Digital Photomontages: Paris Barcelona London-1965-2001 ('Foreward' del catàleg , 2001, publicat per la Colville Gallery de Londres).


Laura Plana 'Guillem Ramos-Poquí: Introducció i revisió cronològica de la obra: Obra retrospectiva 1965-2009 i Pintures recents 2010-2013' (catàleg digital) 2013

'A través d'un llenguatge metafòric, alhora únic i personal, aquestes obres articulen una visió nova i valuosa en la pintura que tracta de qüestions fonamentals sobre la naturalesa de l'art, la realitat i la percepció. Aquestes pintures de Guillem Ramos-Poquí creen un espai contemplatiu on té lloc una interacció poètica de metàfores visuals, signes i símbols'. (David Rodway)




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