Anna Bella Geiger (Rio de Janeiro, 1933) is one of the most valued Brazilian artists on the international scene, considered one of the pioneers in using unconventional media to experience other ways of approaching and questioning what was happening in Brazil. 70s. An anxious time of liberties in which the practice of art was understood as a space for questioning and inquiry, in which a new sensibility emerged and which represented a rupture with respect to traditional languages: transversality of disciplines, integration into the creative process of mechanisms related to philosophy, sociology, psychoanalysis, politics, technology, popular culture, science, architecture, music or language.The artist adopts a critical stance elaborated through the series, variation, mutation and repetition, constituting the formal configuration of her work. The medium is only a tool to approach its major themes-spatial relationships and their proposals for rewriting the world, social spaces and cultural currents.
The main work "Rose Sélavy mesmo" (2007-2014) is taken to a situation of critical irony and chance, as in a kind of dice. The pages of newspapers with a kaleidoscopic print - of spots - camouflage - join an androgynous image of Marcel Duchamp that serves to expand the game found and provoked by news and art. The collage of the image of Dadaist French, the graphic spots and the newspapers themselves as support, are armed as in a costume game, reflecting metaphors and critical metonymies. This produces another vision and reading superimposed or simultaneous, whose texts and statements acquire another importance. It is the meeting of different mutations: that of Duchampian and that practiced by the press as a mirror of our today. The collage and the engraving are combined with the images and the texts of the written press, both the news and the double transvestite of Duchamp lead us to a critical fictionality. It is a game with the nature of reproduction and also with the politics of representation (and of course, with the representation of politics).
Concha Jerez (Las Palmas de Gran Canaria, 1941), winner of the National Prize for Plastic Arts 2015, and the Velázquez Prize in 2017, presents one of its pieces related to the press and the media, which it has been producing since mid from the seventies until today. Since 1976, Jerez has focused its work on the development of the installation concept, which is why it conceives its projects as a dialogue between work and space. This approach generates an idea of temporal and chronological dialogue, where the break with conventional artistic practices is put into question to give way to other concerns related to the historical moment and the experiences of the artist himself. Their common points: the work of art, as a reflexive activity, both mental and experiential. The main work that we present "Landscape of Memory" (2006-2014) is a large polyptych of 56 pages of newspaper with illegible texts that aims to put in the foreground the lives of exceptional women who have stood out for various reasons and whose existence, in most cases, we acquire knowledge about them at the time of their appearance in the obituary section of a newspaper when they die.
Fernando Sinaga (Zaragoza, 1951) is the heir of the debates-conceptual and post-minimalist-that moved sculpture away from figuration. Nonconformist and passionate, he is part of the select group of sculptors who, from the second half of the 80s and 90s, created a new space for sculpture.
A key author for the approach to the knowledge of art and its artistic practice, which lives in a singular territory and of "difficult" access, because it arises from the deepening of a precise sculptural vocabulary where cross-references to the history of art come together, sociology, or theories of perception.
The main work that we present is Oscillum (2009-10) of which Sinaga wrote in 2011: "As an axis mundi without fall, the rocking of the world is quieted for a moment, waiting for changes that hang from the tree where we have grown A prefiguration of the heavy weightlessness of things, of what exists in the air without root at ground level and of what is subject to unexpected movements that make us forget what we are: beings suspended in a vacuum.
An anchor that prevents us from touching the ground and connects us to a world located behind the eyes.
Isaac Montoya (Seville, 1963) resorts, with a deconstructive will, to basic instruments such as cinema and publicity to reflect on the place that images occupy in our day to day life and how we assimilate the torrent of barbarities with which the media overflow us Communication. Cinema, especially, and advertising have expanded our capacity to receive images, making us less vulnerable to its impact. Montoya's intention is to reflect on these images, questioning their rigor and authenticity, their reliability and their validity.
Javier Vallhonrat (Madrid, 1953) has been working in the field of fashion photography since its inception, hence his attitude towards art: the mastery of codes and the photographic language. Thus, his work, by showing a reflective attitude, can cause surprise, even a certain discomfort. His photographs may not be friendly but have a formal beauty halfway between aestheticism and commitment; not in vain it uses methods from minimalism and conceptual art to formulate a reflection on the limits of language and photographic perception: photography as a language is placed in an elusive and imprecise limit. Vallhonrat vindicates for photography a visual and plastic memory of its own but common to painting in terms of shape and texture. In this way he tries to relativize the language and force to look at a photo in the same way, slow and careful.
We present for this occasion a series of pieces that are part of a broader project Interacciones in which the artist proposes a fragmentary and incomplete map of a complex experience, and of the attempt to share it from those spaces that the language leaves empty, the spaces of the unsaid.
José Maldonado (Madrid, 1962) is a producer of aesthetic sense (des_artista). Licentiate from the University of Salamanca and Doctor from the Polytechnic University of Valencia.
He has developed an intense teaching and research activity at the Spanish university. First in the Faculty of Fine Arts of Cuenca, and currently in the Campus of the Arts of Altea where he is a professor of undergraduate subjects as Intermediate in the mention of Plastic Arts or Transmedia in the itinerary of Visual Arts and Design. He is part of the Artistic and Medial Interference Laboratory research group of the Art Department of the UMH.
His presence in the artistic context has been profoundly critical and complex, participating in various artistic and productive attitudes and trends throughout the 80s and 90s that led him increasingly towards conceptual, dilettante and iconoclastic territories, which are where he centers today. his interest and production always experimental.
His latest works are more and more multidisciplinary: music, sound, video, photography, digital image, installations, and it is during 2009 when a new and growing interest in the hybridization between painting, drawing, process art and concept art and technologies and technological supports in disuse emerge in their projects.
"SSSHHH (Almost White) white on white" is the result of a subtle, prolonged and constant impact that over time have had on my curiosity and my emotions the work of certain authors.They are not few ... but the final straw The intimate need to express myself through scarce elements was a small and exquisite little book almost white (a great text) by Stefan Sulzer, The day my mother touched Robert Ryman. * There are more influences on SSSHHH, Miles Davis, Agnes Martin , Cage, Reinhardt ... so many, but Robert Ryman was invoked again through this delicate text that narrates the transformative and decisive encounter of a woman with Ryman, also for me it was, before and after the enthusiasm and before and after the science.
White on white White layers in which the surface sinks. Scattered over whiteness small segments of audio tape, vectors, sound with a minimum request, silence sentence: sssssshhhhhhhhhhhh ... white noise containing all frequencies, and all of them at the same power, without statistical correlation: as if of white light. Only an illusion. Touching it, an unveiling, sensing the closeness of the decisive moment.
Luis Gordillo (Sevilla, 1934), is one of the most outstanding Spanish painters, referential and influential of the Spanish pictorial creation of the last 50 years. He obtains some of the highest awards such as the Velázquez Prize (2007), the National Plastic Arts Prize (1981) and the National Graphic Art Prize (2012). Luis Gordillo began his career in the fifties when he traveled to Paris and came into contact with European art at the time, especially with authors such as Wols, Dubuffet, Michaux and Fautrier. In the first works you can see the influence of Surrealism and Tàpies to later incorporate an iconography that associates it at the beginning of the 70s with pop art.
Gordillo is one of the permanently renovating painters of the pictorial language and one of the artists who in the early seventies will reintroduce figuration. It's a time when you start working with photographic images that present one way or another in the process of creating your paintings. From the extraction of samples, they reduce and dissect their pictorial elements, reaching organic forms that hint at both the microscopic size and the size of the body. Within an enduring legal process of construction and deconstruction, as well as accumulation resources, elements that are incorporated into your work permanently.
This edition of Arco presents a unique and very special work of recent creation that is configured within an idea that remains in his latest creations and that is part of his most genuine pictorial process.
Máximo González (Paraná, Entre Ríos, Argentina, in 1971), lives and works in Mexico City and Alicante. He is one of the most interesting and international artists of his generation. It is known for its facilities, murals and fabrics made from world currency notes, videos, symbolic objects, performance, and collective actions. The work of González displays a great variety of materials and messages. Infusing everyday objects with an artisanal delicacy that generates new and unexpected reflections in relation to utility and value. Transforms the mundane into symbolic objects relating traditional processes such as weaving looms and cutting paper with politics and contemporary social history, González uses crafts to generate new narratives from historical events and collective memory.
we present some works of the series Small money Labyrinth.