To celebrate its 5th anniversary, Galería silvestre presents a group show titled Así que pasen cinco años, an exhibition where we can see all the gallery’s artists, how the gallery have started and the position it occupies now. A path that has built what Galería silvestre is now. A look forward and simultaneously an interrogation in the air: Where are we going to be five years from now? When you face a an empty space, where there is nothing but still everything to be done. Knowing of a lot of things and learning other things, and overcoming situations that will remain in our history. By creating the solid bases in which Galería silvestre is built and not failing, having always a wide gaze for discovering. But the best of all has been to meet with the artists in a fresh, clean and generous way. A search that has become an exciting trip, in which every visit to the artist’s studios was a class about painting, about work and art in all senses. These visits remain in our memories, but the relationships with each artist were marked by the first meeting. Like when we visited the young artist who was showing her work professionally for the first time. That was at her parents place, in her bedroom besides her bed and her childhood. Or like when we fell in love with a city and we realised that there was an artist, (like Picasso used to say “I don’t say everything, but I paint everything”) he also was painting everything and in such an incredible way. Or when we were abroad and we couldn’t communicate with the artist because we didn’t speak the same language but there was no problem, we were sure that everything was going to work nicely. Each one of the artists here presented have a love and compromise history with their work as contemporary artists, and a clear conviction of the importance of the decisions related to the creation of their pieces. We learn from them, every day, from each project. We are lucky to be together.
But what defines Galería silvestre? What were we looking for? And what have we found? After all, painting was our first idea. To base ourselves in our understanding of art as we know it and what we find so fascinating. The pictoric gesture of nowadays and how this gesture represents and talks about infinite elements that are able to teleport us to the present and to the future, without missing the magnificent past. And why painting? People ask us and we have lots of answers to this
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question. But each answer is written by one of our artists presented in this exhibition. However, we also have included other media, because we consider that being hermetic is stupid, and we see richness in all artistic manifestations. But it is true that we see painting as the binding element, the protagonist of this orchestra, because indeed, we see all this as a kind of orchestra in which each one of the members is fundamental for the music to sound good. Adorno used to compare contemporary painting to music. Both had the ability to transform against the bourgeoisie and conventional language of the time. A contradiction generated by the quietness of the painting. The need for time and rest, for references and to stop, against the standardisation of the image nowadays. Our work is done from that contradiction or fissure, as a statement of intentions.
In this group exhibition we can see the work of 13 of the artists that have been represented by the gallery or have worked collaboratively. For each one of them it has been chosen a key-piece to represent these five years that have passed and they have made a new piece for the occasion, creating a dialogue between them. As an archive, this represents an opportunity to rediscover statements already established and therefore rewrite them. A new reading is created by having all the works of all the artists together in the same space, and it makes quite visible what we understand about art and painting in particular. From one of the biggest painters, a quote. Francis Bacon said that the two threats of Painting have always been the illustration, and above all, the narrative. The fight against these two threats and specially the second one, is based on the idea that a painting is not a narrative. Therefore, the language has no privileges above the painting. This sounds radical to me, but needed to be highlighted. We do so by not demanding from the pieces something that does not belong to it, only the positioning of its plastics, politics, archaeological, social and formal aspects....
In Federico García Lorca’s piece Así que pasen cinco años, the poet show us the “the theatre of the impossibility” used by us as a starting point and it starts again with the pass of time. A project that starts from an impossibility and it will be reaffirmed again, así que pasen cinco años.
Vanessa H. Sánchez