• JAN 10 to FEB 02
    Group Exhibition
    Varios Autores: Colectiva de invierno 2013


    • Group Exhibition
    • Contemporary

    Dates and Opening hours

    JAN 10 to FEB 02, 2013

    Event Location

    Galería Marlborough Madrid


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    For Alfonso Albacete (Antequera, 1950) the picture becomes record places, moments and feelings experienced. But although these visual references, and emotional space are real, or not operating as a model or as autobiography, it is not them, but the process of rebuilding your memory, and this time, which becomes visually. The pictorial construction allows the directional longer time and accumulate as paint accumulates itself, simultaneous layers different times, which moves the viewer that provides January, 2010 and critical positions No.3 (Vendabal), 2007.


    In the work of Pablo Armesto (Schaffhausen, Switzerland, 1970), the architecture and the light are present. In this quest to converge biology, history and technology, tradition and modernity, memory and place, the idea often used as a metaphor for life path, the core of these experiments where underlying philosophical arguments and also symbolic. Research based on lighting forms has been present in his work since 2000, when he presented his first solo exhibitions. Since then, the light goes on for him under study and sharing the limelight with engraving, color and volume.


    For Juan José Aquerreta (Pamplona, ??1946), the landscape is omnipresent in his work, in which the painter portrays his native Pamplona (Cuatrovientos Way, 2011), as a timeless land treaty with its distinctive palette silent. While his still lifes (Still Life with Eggplant, 2004 and Christmas Still Life, 2003), the artist whose art is referred to as 'School of humility', are balanced backwaters of spirituality and peace.


    Tarundant Cactus, Cactus IV 2008 and 2005 are plen air works that show the main subject of the painting by Raphael Cidoncha: light. Cidoncha is one of the most representative artists of figurative aspect kept vigorous Spanish painting in recent decades from the suggestive combination of critical realism and dreamlike substantial transfiguration of everyday objects.


    The role of the wind, the spiral, bronze and iron create a poetic self in sculpture of Martin Chirino (Las Palmas de Gran Canaria, 1925), a personal work, thoughtful and full of meanings as his Chronicle of the twentieth century, 2007 , exhibited at this show. Chirino tries to unravel the mystery of the spiral, a common motif in nature and art of the Aborigines of their land Canarian condenses itself seemingly divergent concepts. This geometric element (interpreted as a solar cult) usual in the canaries prehispanic culture as in many others, in his works becomes a vital symbol southerly Canary dragging and envelops everything.


    In the paintings of Alberto Corazón (Madrid, 1942) unfolds its exquisite reinterpretation of the classic themes of still life and landscape, with its peculiar and seemingly spontaneous painting. The loose brush strokes and imbued with a passionate color compositions achieved great forcefulness that emerge between a delicate and lyrical nature of nuances.


    As is the case of graft Modes # 12 where the artist seems to explore the limits of drawing and color.


    Juan Correa (1959) shows in his paintings his total mastery of technique, this being the inspiration and guiding their work, investigating the exotic variety of painting techniques from the origins of the painting until the nineteenth century. Abstract appearance, in his personal universe of shadows and exalted pictorial color, figurative references are maintained as elements of naturalistic painting and calligraphy oriental like a landscape of sublime abstraction is involved. The theme of his works is deployed from the art of antiquity to contemporary, his personal style of layering painting can be seen as a metaphor for the passage of time, as the work of an archaeologist who discovers current in each layer ground of different elements that serve to dig into the past.


    In his recent work, Carlos Franco (Madrid, 1951) maintains significant research funds and various materials, while retaining its interest on symbolic issues and exploring the many expressive possibilities of digital reproduction techniques. The concern of this great artist creatively restless, breaks the barriers of conventional genres. His experimentation delves techniques for different materials and media. Both Orquestina, 2011, as Grafitera, 2011 off a great pleasure, a great love of myths, magic and the unconscious.


    From his very personal language away from any realistic-Mannerist-academicism, Franquelo Manuel (Malaga, 1953) captures the metaphysics of each object, immersed in an effort to convey the magic works and great richness of detail of reality. His painting seems to move to a little-known world, the world of reality obsessively pondered and assimilated.


    John Genovese (Valencia, 1930) uses a very matérica paint related, in some way, with its previous sequences. Although this time, his work is enhanced and infused with a contagious vitality projected with its distinctive 'bird view' and on the surface of the canvas-stock dynamics anonymous with their shadows, indomitable dominated oppressive forces that push them to unforeseen displacements of alienation. The tension between reality plastic boxes and the subject reflects the duality of society.


    The path of Luis Gordillo (Seville, 1934), always marked by continuous experimentation and by changing their production records, has been framed within the abstraction, a definition that puts on the shirt a job that goes beyond a desire discovery of new horizons plastics. The use of different media has led him to develop a parallel universe where, overcoming the abstraction, coexist in the same plane references to reality, or portions thereof, with imagined elements, fully abstract, symbolic or narrative.


    The work of Abraham Lacalle (Almería, 1962) shows a multiplicity of arguments and references that make emerge a real supplier of sensations arranged into chaos necessary. His works impact the viewer with its sumptuous color so personal, they are just as vital impregnated her irony and the constant references to the great artistic and literary movements of the twentieth century, without forgetting social criticism.


    In the sculptures of Francisco Leiro (Cambados, Pontevedra, 1957), displays the artist's personal universe inhabited which masks the tragic sense with comic ingenuity, blending the drama with its peculiar instinct vitalist, in the same way that achieves do live the way gravity. Coinciding with this group show, his single entitled Human Resources shown in Marlborough Gallery New York from 9 January to 9 February.


    For Blanca Muñoz (Madrid, 1963) the stainless steel sculpture is based on ethereal forms that give a sense of having just gravity. In recent years there has been more focused interest in natural forms and more curvilinear shapes, which explores the subject and the succession of forms that occur when a fluid interferes with a solid (Manton, 2009).


    The presence of nature is a constant in the painting of Lucio Muñoz (Madrid, 1929-1998), as demonstrated by the use of wood, the material which over the years became one of his hallmarks. But delving into the natural impregnating his abstract work, it is easy to find a landscape marked tendency in much of his painting (Table 9-95, 1995).


    From abstract paintings of the sixties, to the thematic series of the eighties, or its unmistakable Chinese dragons or landscapes done in recent years, the paint Baldeweg (Santander, 1939) reflects that research evidence with clear references to the history of art and, especially, to culture, understood as a source of inspiration.


    In recent years Pelayo Ortega (Mieres, Asturias, 1956) has addressed a new stage in his work. In it, in addition to reviewing some of the recurring motifs in earlier stages of the same, there is the field of painting with syncretic spirit, taking both his past figurative, as his interest in constructivism and new abstractions, not shunning the complexity and contradiction, and sometimes even recovering their original expressionism, which results in scratched surfaces, colored fire, and again in a certain dimension scenographic


    The recent work of David Rodriguez Caballero (1970) show the evolution of his work and the influence it has had on his artistic expression his stay in New York. As the artist himself explains: 'from the first step of my folded, (...) wall sculptures with alternating folds and organic element of the curves, and sculptures. Within the wall sculptures have incorporated masks, and within exempt totems. In both cases, concerning delivery of figurative imagery African and buildings of the city, respectively. Not forgetting curved exempt developments made with metals like brass'.


    The very personal iconography of the work of Sergio Sanz (Santander, 1964), recreated environments and the strength of his imagination captured on canvas, rises from a large reader fervor, film and music. Everything fills a dreamlike atmosphere, a result of observing the reality of the outside in while keeping a safe distance weaving cloth or filter the lighting.


    The works of the great creators will serve Manolo Valdés (Valencia, 1942) as a pretext for their aesthetic approaches, in which the texture, the art, the representation of the human body and expressiveness are evident in his painting (Algiers Lady V , 2011). In his sculptural works (Blanche, 2007) reflects a profound reflection on the subject (looking for more casual textures) and space, looking for its natural polychrome accidents. As the artist himself explains: "I am interested in textures. Once the volume, surface topographically go around '.


    Same in the small hall of the gallery you can also see graphic work of artists of the Gallery of Madrid, along with photographs of Paul Genovese and Hans Silvester, plus prints and lithographs by Louise Bourgeois and Claudio Bravo.


    Recent work of Louise Bourgeois (Paris, 1911-New York, 2010) born in printmaking as a result of an almost compulsive need to record the moods of the artist, in addition to its volatile thoughts, in words of Bourgeois' my drawings are pens containing thoughts and ideas and I catch the fly. These works show his versatility, along with his fertile imagination with its striking imagery and provocative features, in contrast to others of an endearing simplicity with notes of humor (Male and Female, 2005).


    Through recent lithographs Claudio Bravo (Valparaiso, Chile, 1936 - Taroudant, Morocco, 2011) and animal skulls (Skull hippo, 2007) we approach the painter's creative world personnel in these animals, which were family at his home in Marrakech, are portrayed impregnated with 'their' unique light that seems also transform and give them a life.


    In the images of Paul Genovese (Madrid, 1959), the struggle between nature and culture has become eternal, and it is not possible to discern who is attacking whom. The struggle for the appropriation of space leads to scenes of destruction, the end of an era, with a nod to the doomsday omens that today, more than ever, sharpen the collective imagination. In turn, these images come from existing realities: old prints that the artist rescues and transfigures, releasing the photographic image of his eternal life, providing the elements of the past in a new capacity of evocation (Succession of utopias, 2012).


    The photograph of Hans Silvester (Lorrach, Germany, 1938) focused on the eighties in the major environmental problems. But his most recent work portrays the Surma and Mursi of Southern Ethiopia, which enhance their beauty with bright mineral pigments decorating their bodies while employed as accessories wildlife itself (Natural Fashion No 67, 2006).


    Text provided by the Gallery and / or Exhibition Hall

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