Ruth Morán presents her latest research around ceramics and their processes within a global project that encompasses shapes, chromatisms and materials. Space, dimension and reality are parameters present in these inquiries where the rigidity of the pottery forms moves to the background to enhance effects that take up organic allusions, as happens in the rest of their artistic production. Another fundamental element in his diction is chance. And nothing better than ceramic processes to encourage the unpredictability of the result.
Until September 22 “Estudio Elemental del Levante” offers a retrospective of the five series made by the photographer in the Levante, the Spanish Mediterranean coast, during more than eight years of work. Ricardo Cases is interested in his environment, but does not support the documentary function, he only records facts. Explore all the semantic possibilities of the image. Blinding light, explosive colors, degraded objects, decaying characters, reveals the visual singularity of this “ungovernable, fascinating and hallucinogenic country”. At first glance, Ricardo Cases’ photographs are very funny and allow us to go beyond stereotypes, obtain reading keys and point the way through this territory. Conceived as a restricted geography, these images, however, have a universal resonance: mutations of territories, nostalgia, respect for local riches and traditions.
From May 29 to June 27 Susanne S. D. Themlitz presents a large installation in the form of a vertical landscape, or a still life like Wunderkammer. The hybrid floral shapes correspond in a system of shelves and tables with corals, stones, magnifying glasses, glass objects and complex detailed drawings.
Fragments like in a lab – some visible through magnifying glasses, glass or water – show a series of frozen details. Around it almost the void, only occasionally here and there a wall, a collage, a drawing, a floating net. Sculpture and drawing form interwoven moments. It all refers to each one. Delicate anatomies and above all silence.
Curated by Óscar Alonso Molina Florence/Venice is, in short, a specific proposal that in the Baroque frame of the chapel of the Trinity of the Barjola Museum, delves into the constants of the work of Juan Carlos Bracho around the notions of sublime Romantic, of the landscape, of the gaze of the Spectator, of the construction of the meaning in his bosom, and of the artifice of any cultural image. A proposal that delves into the innermost meaning of the idea of landscape/nature, and on the mirror as a surface that reflects what does not belong to it. A reflection, also, on what we perceive on the surface of the screens and the images that they emit incessantly, more and more ethereal, intangible and meaningless.
Coda: Acmé “is a specific proposal for the Párraga center of Murcia, composed by the projection of the audiovisual work” Acmé “(2017), original costume and storyboards, and the premiere of a musical performance that serves as” coda “or possible end of the trip of this Work in which the artist is imbued from the 2016. The opening day, the Conservatory of Music of Murcia becomes the Atonal orchestral to ponder melody to this medieval fable of the 21ST century. With “Coda: Acmé” Blanca Gracia ends the project tour in Murcia, finishing a polyhedral and multiple work.
Ángeles Baños Gallery presents Javier Arbizu and Juan Carlos Bracho. Two artist splitting of processes and well different methods reflect, each from a particular perspective, the ideas of transformation and metamorphosis are superfluous. The physical and the symbolic gain body in some works-which aesthetically in the antipodes-dialogue through the body, the form and the space as reference and matter of work.
Orient is East? It is an exhibition curated by Gopi Sadarangani, with the participation of 17 artists, canaries, national and international. La Regenta Art Center, from 26 April to 29 June 2019
The exhibition invites to revise and situate the anthropology of the imaginary, archetypes and images in the West that describe an imaginary geography, starting from the principle of uncertainty, the Western thought has enraptured with Eastern mysticism and the humanistic of the West has been forced to resort to alien models such as Hinduism, Taoism or others… To configure sense constellations that make it possible to approach the most diverse fictions. Crossbreeding and transculturality are habitual practices in contemporary art.
“The event that decided to leave the wisdom in suspense to ask for the being of things, of reality, was astonishment. In the Asom-bro there is an unseen being in front of something, something that has been known and that was thought to know but in an instant it is shown as new, leaving the one who contemplates it in a kind of blindness and dumbness. There is No word in astonishment, only silence and, at the most, an exclamation. The astonishment is Pasmo, the pasmo that occurs when something unusual is seen, but that is even more pure and fertile when it is produced before something well known and that suddenly presents itself as never before.
“Notes of a Method”, María Zambrano.
This excerpt from María Zambrano’s book is established as a base for presenting a project composed of four women who share the illusion of being surprised with the everyday life of their social environment and reflecting it in their works in a transversal way and Multidisciplinary.
The process of creation that they carry out originates from the fecundity of the astonishment, fruit of the temporal suspension of the sense. It Takes special relevance to the artistic practice turned into a trace, at the same instinctive as persevering, from a space where the experience of tangible reality acquires a new raison d’être. This becomes a state where a concatenation of actions leaves cons-importance of it. What is true is that in all cases this new reason of being is revealed to us in a cartographic deployment where colors, objects, textures, texts, images and, in general, all kinds of traces that affirm our physical presence in the world, are presented in half of Path between the unusual, the utopian and the ineffable.
Cases investigates again after “The Why of Oranges” with “Sun” in the cliché of the Levantina coast. Posing his task as a childish game consisting of representing the Sun, the author plunges into the blinding light of the summer Levantine in search of its essence, being carried away by the sensations and putting in question the way in which the sun determines the identity , the aesthetics and the local economy.