Simón Granell

Publications

2024

• Contributor - 'What is a studio, anyway?', Ed. E. Hawes & E. Furnell. Press on that, London.

2023

• Summer Exhibition 2023, Royal Academy of Arts, London. Exhibition Catalogue

2022

• Summer Exhibition 2022, Royal Academy of Arts, London. Exhibition Catalogue

2021

• Enough is Definitely Enough, (2021). Ed. Bracey. A., Beam Editions UK

2020

• Trinity Buoy Wharf Drawing Prize 2020, exhibition catalogue

2019

• Granell, S. and Dr. Norton, F., Project Advisors (2019) Drawing on Dorset, Dorset Visual Arts and Evolver. ISBN 9-781526-207906

2018

• Granell, S., Introduction author (2018) Adèl mien, in ‘Madeleine’, Patrick Heide Contemporary Art. Curated by Michael Roberts (Exhibition leaflet)
• Granell, S., Editor (2018) A Recipe Book. MA Fine Art, AUB project, and fundraiser for homeless charity Shelter
• Ten Years texts Patrick Heide & Verena Platzgummer, published by Patrick Heide Contemporary Art, London

2016

• Granell, S., Chapter author (2016). ‘… and another thing’ Towards Midpointness/Transart Triennale. (online blog)
• Granell, S., (2016). The New Desk. In: Spyridou, T & Appios, V, CakeJournal Issue 1 – Can I have some of that?

2015

• Granell, S., Chapter Author (2015) Midpointness, The Lock-Up, Newcastle, Australia, In Andrew Bracey The Score is the Work. (exhibition publication)

2014

• Granell, S., Chapter Author (2014) Nov '07 - May '09. In: Andrew Bracey Detail. London: Transition Gallery. (exhibition catalogue)
• Granell, S., Artist. In: Harty, D., (2014). Drawology: Drawing as Phenomenology. Nottingham: Nottingham Trent University (exhibition catalogue)
• Granell, S., Artist. In: Roberts, M., (2014). Down to Zero. London: Patrick Heide Fine Art (exhibition catalogue)

2013

• Granell, S., Chapter Author (2013). 10 Diary Entries [2010 – 12]. Journal for Artistic Research (JAR3) Available: http://www.researchcatalogue.net/view/26162/26226.
• Granell, S., (2013). Co-Editor. Garageland Magazine: Issue XVI ‘Machines’ Transition Gallery: London

2010

• Granell, S., (2010) Manuscript Editor. Some Ways to Disappear. Biannual publication of new photography and literature. ISSN 2044-4354

2009

• Granell, S., Editor (2009). a Sanchez Cotán. Texts; Stephanie James (Artist, writer, and Director of the School of Art, Arts University Bournemouth) and Josepha Sanna (Artist, writer, and editor of Word Matters 52nd Venice Biennale). ISBN 978-0-901196-36-1 (exhibition catalogue)

2008

• Granell, S., Artist. (2008). In: Abiker, K., Simón Granell: In no particular order. The Arts Institute at Bournemouth: text+work, ISBN 978-0-901196-33-0 (exhibition publication)

2007

• Granell, S. & Butcher, E., Co-Editors. (2007). Underground. Texts: John Haldane (Professor of Philosophy, University of St. Andrews), Lee Trimings (Artist and Writer), Dr. Julie Sheldon (Reader and Programme Leader in Art History, Liverpool John Moores University) and Tania Kovats (Wimbledon School of Art). Liverpool: Centre for Art International Research and distribution by Cornerhouse Publications. ISBN 978-0-9552820-6-5
• Granell, S., Artist. (2007) Co-Editors: James, S. & Buckingham, L., Meeting Place. The Russell Cotes Art Gallery & Museum, Bournemouth with Arts Institute at Bournemouth: text+work ISBN 978-0-901196-20-0 (exhibition catalogue)

EXHIBITIONS:

Selected Group Exhibitions

2024

• 171st Annual Open Exhibition, Royal West of England Academy, Bristol

2023

• Summer Exhibition 2023, Royal Academy of Arts, London
  
• 170th Annual Open Exhibition, Royal West of England Academy, Bristol

2022

• Summer Exhibition 2022, Royal Academy of Arts, London
  

2020–21

• Trinity Buoy Wharf Drawing Prize 2020, Siân Bowen and Simón Granell, Drawing Projects UK, Trowbridge, UK, Cooper Gallery, Dundee, Scotland, Trinity Buoy Wharf, London and The Gallery, Arts University Bournemouth

2020

• Wells Art Contemporary 2020, Wells Cathedral, Somerset, UK
  Enough is Definitely Enough, Pineapple Black, Middlesbrough, UK
• Derwent Art Prize, Gallery@OXO, London and 20 rue Saint Claude, Paris, France
  Enough is Definitely Enough, Oceans Apart, Salford, UK
• Mechanical Human Matter, The Gallery, Arts University Bournemouth, UK
  Westmorland Landscape Prize, Rheged Centre, Redhills, Penrith, Cumbria

2019

• Holding Space, Curated by Kate Buckley, General Practice, Lincoln
• Enough is Definitely Enough: Contemporary Artists respond to Las Meniñas, General Practice, Lincoln
  165th Annual Open Exhibition, Royal West of England Academy

2017

• A Painting Exhibition, curated by Sian Hutchings, The Bandstand, Lower Gardens, Bournemouth
• MIDPOINTNESS, AirSpace Projects, Stoke on Trent

2016

• MIDPOINTNESS, The Lock-Up, Sidney, Australia

2015

• (detail), H Project Space, Bangkok, Thailand, Transition Gallery, London, Usher Gallery, Lincoln

2014–15

• Down to Zero, Patrick Heide Contemporary Fine Art, London

2014

• Drawology: One Year On, Lanchester Gallery, Coventry

2013–14

• A Machine Aesthetic, Gallery North, Northumbria University, The Gallery, Arts University Bournemouth, University of Lincoln, Norwich University of the Arts & Transition Gallery, London
• Drawology: An exploration of drawing as phenomenology. Bonington Gallery, Nottingham. Curated by Deborah Harty, Lecturer in Drawing at Nottingham Trent University.

2012

• ReGroup, Red Space, 51 Clerkenwell Road, London
• The Devil finds work for idle hands, Toomey Tourell Fine Art, Geary St, San Francisco
• Artist Associate: Beyond the Commission, The Gallery, AUCB, and ArtSway

2011

• We are all in this together, Bureau Gallery, Manchester

2007

• Meeting Place, Russell-Cotes Galleries & Museum and Arts University Bournemouth
• Underground, Shoreditch Town Hall, London

Selected Solo Exhibitions

2015

• Nov '07 - May '09 (detail), Installation, Projectspaceplus, University of Lincoln

2009

• A Sanchez Cotán, Galleri Pluss Minus, Trondheim, Norway

2008

• In no particular order, text+work, Arts University Bournemouth

Curatorial/Research Projects

2022

• Interwoven – Co-curator with Clare Baskerville
  spudWORKS, Sway, New Forest
  An exploration of ways of making and being through creative and social weavings where objects, materials, conversations, or bodies may become combined.
  
  Simón Granell, Stephanie James, Fran Norton, Lisa Richardson, Clare Baskerville, Fran Quinlan, Carrie Mason, Denise Poote, Ilona Skladzien, and MA Fine Art students from Arts University Bournemouth.

2018

• Drawing Boundaries: Folding Islands workshop – Co-curator with Siän Bowen
  Public drawing workshop, British Pavilion, Giardini, Biennale Architettura 2018, Venice

2015

• I know what I like - an online curated project
  Documented through daily photographs of Swedish Artist Jacob Dahlgren. While Dahlgren stands immobile in the designated t-shirt of the day, the shifting world satellites him, and reminds us of a human need for an anchor for our reflections in the world; a grid reference or co-ordinate.

2013–14

• A Machine Aesthetic - Curator
  University of Northumbria, Arts University Bournemouth, University of Lincoln, Norwich University of the Arts and Transition Gallery, London
  
  Andrew Bracey, Eric Butcher, David Connearn, Rob Currie, Paul Goodfellow, Simón Granell, Emma Hart, Dan Hayes, Natasha Kidd, Tim Knowles, Michael Roberts
  
  Contemporary fine art practice engages with the notion of mechanisation in an increasingly sophisticated range of ways. From artists who exploit the materials, processes, and techniques of machine production, incorporating machined materials into their work, to those who do not engage physically with machines at all, but adopt a mechanised methodology in the process of manufacture, disciplining their minds and bodies to behave like machines. The latter approach recognises and exploits the extent to which the human condition is predicated upon mechanisation, but acknowledges that we are only part machine. A Machine Aesthetic explores the various manifestations, uses, and influences of different aspects of mechanisation within the practice of a diverse range of contemporary artists. The Arts Council England supported this project.

2013

• 10 Diary Entries [2010–12] Journal for Artistic Research (JAR3)
  Miriam Ewers (QA), Gert Germeraad (NL/SE), Marc Goodwin (FI), Carolina Goradesky (BR), Simón Granell (GB), Michael Kahr (AT), Neil Mulholland (GB), and Tero Nauha (FI)
  An exploration into the use of spoken language through a predefined process intended to mirror that of my painting practice. A similar process of self-imposed limitation is applied with the aim of suggesting both an autobiographical residue of my own thinking and opening up a potential dialogue for the reader. The intention is to demonstrate that this deterministic process far from being reductive in its effect, has resulted in the words being read either as part of a whole or reintegrated and reoriented into something new through a process of appropriation rather than engenderment.

2008–09

• Simón Granell a Sanchez Cotán
  Galleri Pluss Minus, Trondheim, Norway
  
  An exploration of the conceptual and procedural relationships between the paintings of 16th Century Spanish painter Sanchez Cotán and Simón Granell. Much has been made of the mathematical, religious and symbolic use of food and architecture in his works, but very little mention of the visual contextualization of these elements, namely the backdrop or ‘void’ they inhabit. The primary concern was to draw some parallels between the role of this backdrop and its equivalence in other works of that period and their resonance with aspects of my own processes and methodologies.

2007

• Underground – Co-Curator Shoreditch Town Hall (basement rooms)
  
  An exploration of the conceptual and procedural relationships between the work of three contemporary artists: Roger Ackling, Eric Butcher and Simón Granell. We conceive of the support as a site with a particular history. Each artist determines this history through the performance of various processes, procedures or systems. Each creates surfaces that record or manifest the histories of their own making. Our primary concern is with the creative act rather than the resultant object, i.e. that which stands behind or ‘under’ the physical ground formed by the surface of the support. The object is a form of residue, the abandoned relic of a performance or ritual.