2015 Atelier Opening, Stichting Door, Dordrecht, The Netherlands 09-05-2015
2014 ? by Nina, Merz, Dordrecht, The Netherlands 19-09-2014
2013 Give Art for Xmas, Exeter, UK 11-2013
2006 Laberynt, Matoom, Chiang Mai, Thailand 05-2006
2006 SuperNova, ZumzumGallery Arts Emergents, Barcelona, Spain 02-02-2006
2003 Laberynt, ZumzumGallery Arts Emergents, Barcelona, Spain
2002 Laberynt, Espai d’Art, Port de Llanca, Girona, Spain 21-06-2002 / 2003
2008 Kunstroute, Restaurant 't Oude Raedthuys, Woudrichem, the Netherlands 03-09-2008
2006 Kunsthaus 414, Kunsthaus 414, Barcelona, Spain 05-12-2006
2006 Mini Exhibit Nina, Polvo Gallery, Chicago, USA 03-03-2006
2004 TransArt BCN 04, Laberynt, Museu Frederic Mares Barcelona, Spain 02-10-2004
2004 Jo, ara i Aki, Laberynt, Centre Cultural la Merce, Girona, Spain 07-04-2004
2003 Laberynt, Casa de Cultura, Selva de Mar, Girona, Spain 02-09-2003
2016 The Amsterdam Coffee Festival, Amsterdam, The Netherlands 18-20 March 2016
2003 Fira d’Art, Colera, Girona, Spain 15-07-2003
2003 Fira d’Art Art Contemporani, Port de Llanca, Girona, Spain 08-12-2003
2005 200.000 or more Blacklights by Hanno de Man, Work in progress & installation, ZumZum Gallery Art Emergents, Barcelona Spain
2005 Zona Pez, Installation, ZumZum Gallery Art Emergents, Barcelona, Spain
2004 La Kalle es Mia, Work in progress & installation, ZumZum Gallery Art Emergents, Barcelona, Spain
2004 Live &Laugh By D1, Multimedia Installation, ZumZum Gallery Arts Emergents, Barcelona, Spain
2005 MetalNenas, Espai Jove Boca Nord, Barcelona, Spain 01-07-2005
2005 MetalNenas, Zumzum Gallery Arts Emergents, Barcelona, Spain 28-01-2005
CUSTOM MADE ASSIGNEMENTS
2017 Sourcing & development Presentation presskit for Lidl espresso and coffee cup & saucer, Eurocaps, The Netherlands
2017 Sourcing & development of Grand Maestro espresso capsule machine, Koffievoordeel, The Netherlands
2016 Design Limited Edition Packaging Coffee Beans & Coffee Capsules box, Plus Supermarket, Utrecht, The Netherlands
2016 Design Limited Edition Espresso Cup & Saucer, Plus Supermarket, Utrecht, The Netherlands
2016 Design Prefisso Story Board, Prefisso, Athens Greece
2014 Design Adventcalender Goedcupje, Goedcupje, The Netherlands
2014 Design Adventcalender Eurocaps, Eurocaps, Rotterdam, The Netherlands
2014 Design of Coffee Process Board for Coffee machine tower, ABN Amro, The Netherlands
2014 Design Coffee Process Board for Coffee Fair Pelican Rouge Coffee Roasters B.V., Venditalia, Milan, Italy
2013 Design Espresso Cup & Saucer for Autobar Coffee Roasters B.V., The Netherlands
2011 Design Cappuccino Cup & Saucer for ICS International B.V., The Netherlands
2007 Design Logo BlaBla, Barcelona, Spain
2007 Design Logo Greni, for Mia Films, Miami, USA,
WHITE IS THE NEW BLACK
Now that we are rested, tanned and handsome, now that white color suits us so well, we are pleased to present the exhibition of paintings
White is the new Black by Nina
Save this date: Saturday 19th of September 2015 at 18:00h
When you can watch the artist in action while she creates one of her artworks during the vernissage.
In this exhibition, NINA proposes white as the common thread to show her new artistic creations of spectacular "GLAM ART" always present in her stylish works of exceptional purity.
NINA lives and works in the Netherlands and returns to BCN with an exhibition of paintings which sets trends and does not leave anyone indifferent.
The expo will be open from 19/09 to 31/10/2015, from 18:00 to 21: 00h from Tuesdays to Fridays at Chez Xefo Art Gallery, Badajoz Street 46, 08005 Barcelona
We hope to see you!
Work in progress & Installation
Interview Supernova Nina by Toni Planells
T: Many years ago, at the Sixtine Chapple, a pope pronounced the famous sentence:
Some day, all chappals will be like this one.
But he was wrong because the Sixtine Chapple is an inner space that we all carry inside, as Nina demonstrates. She´s created a space that, to observe it, you´ll need to position in the first dimension to be able to observe the third dimension.
Once more, Zumzum Gallery, following its motto to keep on buzzing, has generated a space in which art, in this case, stands above our heads.
Nina´s new proposal, Supernova Nina is to invite the public to take a stand, to change the situation, and even choose a different way of thinking to look at art from another point of view. Nina...
T: When you thought about dimensions, shapes, colors, and suggestions that affect us, human beings who come here to see your work, what position were you in? Standing, lying down.
How did it go?
N: I was completely relaxed
T: So you think that art seen from relaxation, is a far more interesting way?
N: My intention was that people should lay down.
T: Well then, let´s lay down.
We lay in a way in which we give our back to
earth´s gravity center and we drift around a bit,
not much, although this much can be three meters, three or three thousand kilometers, it all depends on conception, on the dimension of the shapes we have above our heads. Then, let´s take a deep breath, which is one of the main forms of relaxation. We see shapes, volumes, deepness. We're looking at the cosmos.
My question is, are we really looking at the cosmos, according to your artistic intention?
N: We are looking at my cosmos.
T: We are looking at your cosmos. What does that mean?
N: My cosmos is formed by all the characters to which I give life. This is the cosmos you are looking at...
T: We are going through a vision of characters
T: Persons that developed into characters
T: And they are your characters and they live with you?
T: Do you think that I, as a visitor who dropped by to see the gallery, am I a person that can enter your cosmos? Can I meet your characters?
T: This is an invitation to the public, whatever their social status, a way of thinking to access your world?
T: Can they access your characters?
T: Who are those characters I´m looking at right now? Or should I say feeling and receiving Tell me who are those characters?
N: There are all kind of creatures, animal types who transform themselves depending on your point of view.
T: Ok. There are also people in this world of yours?
N: More than physical people, there are moods, states of mind
T: That´s it. The state of mind of the person who receives sensations, the emotions of the person who produces art works, who creates characters in a cosmological sort of vision of a world in motion. I see lots of motion here
N: They are all moving
T: Besides I have the impression that they move constantly. They never stop
N: No, they never stop
T: Are your characters always like this?
N: Yes. Always
T: What amount, excuse me if it's an intimate question, is there a dream, or mind drifting in all this universe we are observing at this moment?
N: The truth is I cannot tell if I´m dreaming or if I´m awake
T: You can´t discern between dream and reality. Because for you the one and the other are practically the same. Stepping into another ground. Here we see characters, but is there a physical world as well? Is there a place where all those characters float, walk, go in and out?
N: Yes. There´s a world symbolized by this immense creature called Mustie. Inside Mustie there are many characters and outside is the intergalactic space.
T: There are characters that can be in a physical world, where they can walk, but they can be floating as well in space. Tell us about the reality of those characters. What do they mean, what kind of relationship is there among them, what of love and what of hate do you represent them, which ones make you scared.
N: None of them is scary. But some show more aggressivity or they are naughtier than the rest, but they´re not scary. They all have their own energy. Each one represents something, and although being the same symbol, it depends on how I do it, shows to have a type of strength or another. For example, I represent Mustie many times and in many ways. They play among them and they go through metamorphose and some times, they are the elongation of other characters.
T: This one above, that seems to have been absorbed a smaller one, is this a Mustie?
N: Not quite. That bigger over there is a Mustie and his brother is this one here. Yes, they are family.
T: How do your creatures reproduce themselves? How do you reproduce them?
N: Spontaneously, I haven´t got any system. Line after line, but I don´t follow any direction or any pattern.
T: Well then, you do live with your characters. You get along with them fine. Those characters go with you outside this exhibition environment, when you walk the streets? N: There are always with me
T: When you bike when you talk to your friends.
N: They are around in my motion.
T: May I know what kind of conversations do you have with them referring to third parties? Do you confide in them? Do they gossip?
N: They relate to each other and it depends on how is their relationship in space, they suggest one action or another. They also relate to people I know in real life.
T: So, your ghosts are also portraited here?
N: Well, I suppose you could say that.
T: Saying ghosts, I don´t mean characters with chains and bed sheets. That kind of ghosts we can easily find walking the streets, and they are quite different from those we can see here. Well, I´ll suggest we´ll move to see another fragment of your universe.
T: We enter another point of view. We can affirm, before asking the artist, that we are dealing here with another creative aspect. We´ve seen Nina´s work and we´ve seen a negative dimension. I don´t mean negative in a negative way, but in the way, we see colors and shapes. We are stepping in a field where positive wins over negative. We see a fragment of Mustie which we could name as big characters container. Inside, there are great amounts of characters. Are we witnessing the moment prior to a huge child birth, or those characters dwell here naturally?
N: Those live there naturally.
T: Will they stay inside big Mustie? Will they remain there or they´ll go in and out?
N: In and out. The shape remains open.
T: Further we can see a character that presides a procession of tiny ones following a direction. What´s happening in this side of Nina´s cosmos?
N: They flow
T: They´re outside. Do they flow towards a direction? The same direction?
N: No, they flow in different directions
T: I can see some Musties. Have Mustis a higher rank than the rest of characters?
N: No. Mustie was the first character I gave strength to isolate him from the laberynth. Having the character such a visual strength, being so simple, I wanted to give him more protagonism. Mustie means another level in my work. He belongs to another stage. I´m completing stages. Mustie reminds me of the very first moment when I isolated a personality and gave him relevance.
T: I extracted Mustie from the laberynths. You just said a sentence that intrigues me. I extracted Mustie from the laberynths. What are those laberynths?
N: I began to create mazes. Do you see that bit of big Mustie, where the characters are all compressed? I began to like that. Setting line after line and in this manner, I constructed a maze composed of all kind of characters and Mustie was the first one to stand out.
T: You isolated a character within the maze. Really, we are coming in a symbolic world where Nina develops her creative process. Basically, I should say, a very
important part of her creative process. I would like to ask you, talking about symbolism, the mazes, and its construction. A maze where you have to step in. Who follows your line of work knows that strolling around your mazes means meeting your characters, which delimitate its alleys and it's difficult to stop because if you intend to reverse, you´d better let some marks to undo the way hoping that Mustie and his brothers hadn´t eaten the marks. The question is: Musties will go all the way through your creative process?
N: Yes, they´re part of me. Perhaps I will not represent Musties in every work I´ll do, but as they´re part of the same world as his brothers, Musti will always be there and likewise are all the characters I´ve already created.
T: What is there of Mustie in yourself?
N: The will of flying, the smile, the happiness he portraits.
T: At this moment, are you more Mustie than Nina or the other way around?
N: I consider myself likewise. This is how it is: Mustie is Nina and Nina is Mustie.
T: Well, dear friends, this is the reality in a real stage. Real and unreal mingle so tightly that is difficult to tell one from the other. This is one of the purposes of Nina´s creative work, in this tremendous moment of labor. And this is my point of view. I would like the public to pay attention in a relaxed mood to experiment what happens if they fall asleep under this installation. An extraordinary experience we´ve had while talking to Nina has been that we cannot tell if we are in fact under or above her work or if we´re looking at it from up or below. There are times when we don´t know where we stand and that, I imagine, meets Nina´s purpose. When the point of view doesn´t matter and what is really important is not what we see, but what we feel, our emotions, or even what makes us laugh. Because we have here a good amount of humor.
T: This is a unique experience, I can't choose how to qualify it. Watching the sunset in the desert or watching the crack of dawn in a remote valley. Anyway, they´re pleasurable sensations that relax the conscience and invite to think about things we could have never guessed that we would end up thinking. Thanks, Nina.
N: Thank you, Toni
T: Ahhh.let´s observe silently, for a little while.
MetalNenas is the results of a brilliant and emerging experimental Art Fusion between two young women artists: Io Casino and Nina Bru.
Live, throughout 45 minutes of total experimentation,
Io Casino investigates in metallurgic noise, creating and recreating sounds, experimenting with her voice, with tones and rhythms, playing to translate mechanical fusion grunts into explosions of sonority sparks, mastering in simultaneous audiovisual improvisation bass, bow, laptop loops, voices and live sounds simultaneously.
Nina Bru faces a big iron plate on which she cuts intervening with an oxi solder creating a magnificent sculpture by oxi-fusion in front of the public.
The spectacularity of this originally industrial technique potentiates the high experimental level of the artist, who develops her plastic universe all through the session, by means of fire, substance, matter, sound, and fusion.
Is the image of my own spiritual scope.
Finding the way takes me to the center.
Reaching the symbolic center equals the pleasure to find the real me, where the flame of my life is hiding.
There's a ritual initiation in my search which leads to total concentration.
The act of transferring spirit and its colors to the canvas gives me such mental flow as to go down to my drawings truth.
It's like reaching my own center to show the real image of my world.
Only the observer who follows the way of the laberynt with interest and imagination will get to discover all symbols and enigmas dwelling in the works of Art shown in this Laberynt.