The biggest retrospective dedicated to Cristina Iglesias shows her love affair with architecture and nature.

Cristina Iglesias: The Whole for the part
Madrid - MAY 10, 2013
If there is an artist who needs no introduction it is Cristina Iglesias. The Spanish artist has spent years is the pinnacle of today's contemporary art, this is why the Reina Sofia Museum will pay tribute to her in the largest retrospective to date. The show is called Metonimia, a figure of speech, that we studied in school, which designates a thing or idea with the name of another. With this beautiful analogy between art and literature we find an artist that has left her mark.
Cristina Iglesias: The Whole for the part
Born in San Sebastian and formed in the cosmopolitan Barcelona and London, became one of the key names after the great international art exhibition that the Guggenheim Museum dedicated to her at its headquarters in New York in 1997. In order to better understand the universe of this author we cannot ignore that she studied Chemical Sciences in San Sebastian, which has certainly helped the artist to tame the most complex materials at her will transforming the most innocuous polyester fiber into colossal forests of eucalyptus.
Cristina Iglesias: The Whole for the part
Iglesias' language is structured in a masterfully executed duet between architecture and nature. The Reina Sofia Museum is therefore a perfect setting to exhibit the more than fifty works by the artist, as space ends up merging with each of the pieces in a magic set. These sculptures seek to dramatize the entire trajectory of Iglesias, hence therein lies the "metonymy", they are the "part" that seeks to represent a "whole". A title that seems to apply also to each of the works, that in symbiosis with architecture or nature, seem to be a part of a wider universe that visitors can only imagine.
Cristina Iglesias: The Whole for the part
The exhibition is presented in the Sabatini Building with one of the most impressive works, Techo suspendido inclinado, 1997. The visitor enters a room where daylight is filtered through a green roof. Iglesias manages to transform the coldness of the stone into the organic warmth provided by nature. She not only succeeds in this piece, but also in Habitación vegetal II, 2005 and Habitación de eucalipto, 1994-1997. The Reina Sofia has wanted to go further in its central courtyard and has installed several pieces of the series Vers la terre (Towards the ground) 2001. Cubicles where water circulates dodging slopes and gentle meanderings brief recreating the natural sound of any high mountain stream, which on a rainy day can a delight for any melancholic urbanite that craves nature.

We leave nature and go into iglesias' other "spoiled child", architecture. We also find obviously outstanding pieces from static lattice brick that hide a unique calligraphy, to suspended Corredor suspendido I, II y III of 2006, where numerous materials combine to reveal the expertise of the author: bronze, iron, cement, concrete ... Once again, visitors can delve into the piece and not just see it from the outside, but be part of the excellence of each of the works from the inside, something that certainly makes this particularly creative very special.
Cristina Iglesias: The Whole for the part
Light is also essential in the show since we find numerous pieces made of glass, alabaster or aluminum, which require light to wrap the piece. Again the shelter that the Reina Sofia offers is key for achieving the passing of natural light through the works with great intensity.

Combining perfectly industrial materials with a crisis-proof creativity, Cristina Iglesias proves to be a great name for our contemporary art. No lover of small pleasures may be miss this show or fail to approach the "Iglesias universe", because once inside any of her sculptures a special charm will prevent him from leaving.

Isabel Álvarez Barrio

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