- Written by Alejandra de Argos
Madrid’s Galería Caylus is for the first time hosting a photography exhibition by a Spanish photographer, Lux Oxidada (Rusted Light) by Fernando Manso (born in Madrid in 1961) — rust and light being the two distinct elements which form the common thread running through the photographs.
Fernando Manso, in this exhibition, is essentially immortalizing select moments that he has managed to capture when certain specific conditions — stipulated by himself — were met, something which at times has made him wait an incredibly long time for the exact moment to present itself.
Other photographs require his own personal intervention, added to the set of natural requirements which he must wait for, in order to obtain just the right balance and harmony that he wants to express to his viewers.
Manso introduces one of his own techniques to the immediacy of the photographic medium: he explained to me that of two copies of a photograph, one is sharp and realistic, and the other is left to suffer the effects of weather, creating an entirely new and beautiful vision of the world.
After the camera itself (in this case a camera with bellows for focusing), the next most important element of photography is the vision of the photographer. And then, of course, there’s the level of creativity in the composition.
I loved this exhibition — I found that it truly lived up to the poetry of its title. The peace and loneliness of its landscapes of white veil woods; the cold beauty of the Palacio de Cristal’s glass and metal; the romanticism of its stone monuments, mould and light some, fog and magic others; taverns full of rust and nostalgia, nostalgia suspended in the air all around.
Fernando Manso, a photographer of beauty and of sensations, began his career two decades ago. The attraction, I think, lies in how close photography and painting are in his work. He has edited five books and his photos have travelled in exhibitions around the world. I strongly recommend a visit to the gallery and the ensuing journey that visitors will embark on through his work, the work of a great painter of beauty.
Tuesday, February 11, 2014 - Friday, April 4, 2014
Calle de Lagasca, 28 28001 MadridSpain
- Written by Alejandra de Argos
Actualizado el 19 de enero de 2015.
10 exposiciones en Madrid que no te puedes perder. Descripciones fotos y videos. Os recomendamos las exposiciones más actuales en Madrid, tanto en museos como en galerías. Visitas indispensables para los amantes del arte en todas sus manifestaciones. Pintura, escultura, fotografía y arte en general. Disfruta en Madrid de las obras y artistas más relevantes. Si te gustan nuestras recomendaciones, guarda este enlace, pues actualizamos periódicamente nuestra guía de exposiciones en Madrid.
Mujeres de Roma
Hasta el 14 de febrero
En colaboración con el Museo de Louvre, Caixaforum nos trae una exhibición que explora la forma en que la mujer es representada en las villas romanas en una época en la que si bien la mujer jugaba un rol reducido o inexistente, tenía un papel muy importante en el entorno doméstico de la sociedad.
Kandinsky. Una Retrospectiva
Hasta el 28 de febrero de 2016
Una de las mayores presentaciones del teórico del arte y pintor ruso Wassily Kandinsky que se han hecho en España. La carrera del influyente artista de vanguardia se explora a través de cerca de 100 de sus obras. La exhibición se aproxima a la trayectoria de Kandinsky pasando por sus primeros años en Alemania, luego en Rusia y finalmente en Francia.
La Oficina de San Jerónimo
Hasta el 27 de marzo de 2016
Los 17 retratos de San Jerónimo en esta exhibición subrayan la relación de la pintura con la literatura, haciendo homenaje a las formas literarias. Las obras son provenientes de colecciones privadas y públicas francesas y españolas, incluyendo el Museo del Prado. La exposición, comisariada por Fabienne Di Rocco y Eduardo Arroyo, es el resultado del trabajo de cuatro años y medio que ha tomado conseguir las piezas.
Ignasi Aballí. Sin Principio / Sin Final
Hasta el 14 de marzo de 2016
El artista contemporáneo Ignasi Aballí nos hace reflexionar sobre la percepción de diferentes medios artísticos como la pintura, la fotografía, el cine o el vídeo por medio de esta exhibición. El artista comenzó su carrera en los años 80s y desde entonces ha tenido una aproximación conceptual a las formas y técnicas artísticas que componen su propia expresión.
Alex Katz: Portraits
Hasta el 5 de febrero
Alex Katz es un artista figurativo estadounidense trabaja con varios medios como lo son la pintura, la escultura y el grabado. Alcanzó importancia pública en la década de los 80s. Es conocido especialmente por sus pinturas de gran tamaño y su particular simplicidad. Su arte es ahora entendido como precursor del arte pop.
Hasta el 28 de marzo de 2016
Danh Vō es un artista conceptual de Vietnam que trabaja en Berlin. El artista suele explorar ideas sobre identidad utilizando documentos, esculturas, fotografías y en varios casos apropiaciones de las obras de otros artistas. Danh Vō utiliza la particular arquitectura del Palacio para esta particular exhibición.
Hasta el 29 de febrero de 2016
Constant Niuwenhuys fue un artista holandés cuya obra se manifestó a través de la pintura, la escultura, el arte visual y la música. Su trabajo es, como el mismo lo describía, una sugerencia lanzada al público para provocar. Esta exhibición cuenta con unas 150 de sus obras por medio de las cuales se pretende presentar a la ciudad utópica de Nueva Babilonia como obra de arte.
Del 24 de noviembre al 27 de marzo de 2016
El Museo del Prado presenta en colaboración con el Louvre una retrospectiva cronológica de la obra del pintor francés neoclásico Jean-Auguste-Dominique Ingres. La exposición se enfoca particularmente en la relación del artista con la técnica del retrato y la contrasta la idea que el artista tenía sobre sí mismo como un pintor de historia.
Pensamos que el arte no está reservado a unos pocos, es universal y comunica un extenso mundo que ofrece innumerables opciones y talentos en todas las expresiones.
Madrid posee una enorme riqueza en museos, galerías, salas de arte, con solo mirar a nuestro alrededor, podemos observar que hasta en las calles madrileñas, se puede ver un destello arquitectónico artístico.
Hay demasiadas cosas para ver, comentar y descubrir, en la apasionante metrópolis. Exposiciones Madrid se hace eco de la historia, actualidad y futuro, de la gran ciudad, dado el patrimonio cultural que la rodea, digno de conocer y redescubrir.
Galerías de arte, museos, artistas, salas de arte, instituciones culturales y diversas entidades, promocionan la pintura artística, una expresión viva y actual. Una ciudad emblemática que constantemente se expresa, cautivando a los miles de visitantes que disfrutan del arte en plenitud. Exposiciones Madrid propone citas impostergables, para los turistas o residentes que quizá sin saber de arte, reconocen el gran valor de las obras que alberga la capital y los más versados en el tema aprecian, los grandes tesoros que conserva.
La pretensión de la página, es aportar humildemente, recomendaciones sobre lo que para mí son las diez mejores exposiciones de arte en Madrid , siempre actualizándolas para mantenerlas al día.
- Written by Calíope Garmendia
You don’t make a such a discovery every day. Not long ago I picked up a random stranger, unknown to most, with a growing influence on national art circles. My encounter with him happened out of pure chance, but that’s a whole other story. His name is Íñigo Navarro.
Here’s the conversation we had in full: it’s certainly worth a read.
“May I come in?”, I said timidly from the corner of the studio.
“Just a moment, I’m getting dressed!”
“Oh goodness me, ‘getting dressed’?”. Navarro appeared a couple of minutes later wearing a leopard-skin dressing gown and a dazzled expression.
“Holy Mary, you’re beautiful! Are you a goddess?” Before answering him, I grabbed the can of pepper spray that I always carry in my jacket. He looked harmless enough, but you can never be completely sure with artists.
“Well… I’m Calíope, Calíope Garmendia.”
“And what have you come here for, Calíope Garmendia?”
“I was curious, I wanted to find out more about you and your work. What were you doing there naked, anyway?”
“I was exploring my body.”
“OK, never mind…”
“Oh no, no no no, it’s not what you think… I have a friend who’s a performance artist… How can I put this? He undresses in inappropriate places, like the men’s toilet of a bar — there’s always someone who gets angry and ends up attacking him. He then goes back to his studio and takes photographs of his wounds. He puts the photographs together in series of five and sends them off to his gallery in Cologne, who pay him handsomely for them. He believes that an artist simply resides in a body, and that knowledge of one’s own body is absolutely essential. I personally am very interested in the conceptual relevance of my work, which is why I spend a lot of time carefully studying each single element of them.”
“This friend of yours seems interesting, perhaps I could interview him too.”
“Of course — I’ll put you two in touch as soon as he’s out of the hospital.”
“What? On second thought, forget it, let’s get down to business. I want to talk about you. I can see that your studio is full of your work, and some pieces are very large. For example, how big is this one over here?”
“Three metres tall. Actually, I think it’s too small. I’m preparing a large event in Ávlia, with more than a hundred models, and I want to have the models in the foreground look like they’re life-size. This means that my next painting will need to measure four metres by eight.”
“The models will be in fancy dress, right?”
“It’s a ceremony, an interpretation of the exotic cruelty that’s all around us. Would you like to take part?”
“Not for now, thanks. Could you tell me more about these anthropological digressions you just mentioned?”
“Of course. What I meant was that we still celebrate the bloody bull runs of Pamplona, we send enxanetas to the top of the Castells (human towers) without fear of their death, atheists shed tears accompanying the Macarena, we walk bare-foot over burning coals, parents happily buy their children fireworks to celebrate the mascletades, among many other peculiarities.”
“Spain has changed a great deal.”
“It’s certainly true that we have changed, and we’re many other things now, but these other things, which can in fact be found everywhere else in the world, don’t interest me as much. Nor do I think they are particularly interesting from an artistic point of view. This is exactly what globalization in art is about, a conceptual homogeneity that is terribly harmful to creativity.”
“Is this why you paint?”
“Actually, yes. Spanish painting education is world-renowned. If we can learn something from the relentless tautology that is contemporary art discourse, it is that there is no technique that is superior to others. By choosing painting over newer artistic media, I do away with all the showy, technological factors that new media bring with them, and in so doing I can get straight to the core idea that I want to express. And paradoxically, I also distance myself from institutional tendencies, from contemporary academicism.”
“What is that idea?”
“Fatality. Whatever we may do in life, we end up dead. I’m interested in everything we do to fill our days until our time comes to die. Deciding to occupy one’s time with such an old activity as painting can be considered a joke or something extremely important — it’s ambiguous. I personally don’t fear death.”
“Of course not; I’m convinced that death is not final. In fact, I can prove it to you mathematically. Would you like me to show you?”
“No, thank-you! By saying that “death is not final”, are you not contradicting your beliefs in fatality?”
“Well… no. I’m generalizing. Here in the West, we are living in the best time that we’ve ever seen, yet I think we can see symptoms of decadence. Materialism is the new God, and this brings its own dangers. People’s greatest fear is death. This has never happened before in the history of humanity, and its consequences on our daily lives — let alone on art — are far more serious than we think.”
“Are you saying, then, that belief in God is a prerequisite for creating great art?”
“No, certainly not, but it does help. You can’t just make something exceptional by sitting around. You need to invest many hours of hard work without the certainty that you will be rewarded with a great piece of work. Some kind of faith — any kind, it doesn’t really matter which — is required in order to overcome this phase without falling into materialist temptations. Would you like a coffee?”
“I’ll put one on for myself, if you don’t mind.”
“Many artists find it difficult to talk about their work, but you don’t seem to have any trouble doing so.”
“On the contrary, I love talking about the work I do. I spend hours on the phone talking to my colleagues about art, like an excited teenager. Perhaps something I don’t do is explain my work in detail. The only way I can explain my work is by exhibiting it. I create my work for it to be shown — that is how it reaches its expressive peak. At one of my exhibitions, Scope London, a gentleman from Bristol got so emotional at the sight of one of my photos that he couldn’t help but relax his sphincter muscles.”
“Oh my goodness.”
“He farted so loudly that he ended up buying two photographs”.
“Poor man. I have never felt so honoured by a visitor’s reaction to my work as I was then.”
“Who are your references?”
“In terms of writers, Conrad, Kennedy Toole, Sharpe, Amélie Nothom. In terms of artists, I’d single out two, among the many that I like: Velázquez — not only for his clear technical ability, but also for his sensitivity and worldliness — and Antonio López, for what he taught me in his workshop and for being a true artist, full of energy and love towards painting. If I had to pick a soul-mate in the art world, I’d choose Berlanga, the late film director, God bless him.”
“A film director!”
“Berlanga was a genius story-teller, without ever taking away the mystery that is always present in a work of art. That’s my leitmotiv: to express myself, and to be understood, without losing the magic.”
“What are you working on now? What will you do with all this work in the studio?”
“What you see here are four years of research. In these four years I have tried to understand what it is that I do best, and how to express it. It’s a complex and ambitious project, and I aspire to immortality.”
“You’re certainly not modest, are you?!”
“It’s been a pleasure.”
“The pleasure is all mine. It’s rare to be visited by one of the nine muses from the distant city of Argos.”
To learn more about this fascinating artist, visit www.inigonavarro.es.
- Written by Alejandra de Argos
Excellent stage adaptation of " The Name of the Rose ", by Italian writer and philosopher Umberto Eco . This historical novel written by the author at a mature age , was a resounding success , becoming one of the best selling books of the world .
The play set in the late Middle Ages in a Benedictine Abbey , the scene is masterfully led by Garbi Losada , responsible for the direction. Sets, costumes , makeup and lighting did you immerse in the detective story . The cocktail of philosophy , reason, religion and fanaticism is materialized with a brilliant cast of actors.
Juan Fernandez in the role of Friar William of Basckerville Juan José Ballesta in his novice Adso of Melk, are the stars arriving at the Abbey of the most important libraries of Christianity and where they will be given strange murders they will have to solve. Friar William of Basckerville will also have to mediate, at this point of encounter, between the opulence of the Papacy and a Franciscan order with vow of poverty and the Inquisition backdrop.
It was lovely to observe each of the gestures of these artists. It is difficult to single out one among the others because his role was more or less relevant , was brought to the scene with great skill.
I recommend going to see this play and go dressed warm to the New Apollo Theatre , where the scenery was so neat , that made you feel like a guest in the cold abbey. I also suggest before you go ,review over the life of English franciscan scholastic philosopher, William of Ockham ( 1280-1349 ) . The main character, William of Basckerville (wink A. Conan Doyle) and work , are based on this Franciscan who lived in extreme poverty , and left a very important philosophical and theological legacy.
Teatro Nuevo Apolo . Madrid. Until March 30, 2014
- Written by Alejandra de Argos
I was greeted by warm sunshine when I visited the wonderful gardens of the Zabalaga house, home to the artistic legacy of one of the 20th century’s most important sculptors, Eduardo Chillida (1924-2002). The Museo Chillida-Leku (Gipuzkoa) project was initiated by the artist himself as a place to house a large part of his work. It consists of large and small scale sculptures, drawings, graphical work and his well-known Gravitaciones, also known as reliefs on paper. The archives are located in the old 16th century shed, lovingly restored by Eduardo and his wife Pilar Belzunce: by juxtaposing in this way, an interesting dialogue is created beween his older work and his contemporary work.
“I once dreamed of a utopia: to find myself in a place where my sculptures could rest and where people could stroll among them as if in a forest”.
Eduardo Chillida’s son, Luis, is today head of the Marketing and Communication department. Together we walked through the gardens and the parts of the grounds that were thick with trees, all full of the Basque artist’s sculptures. He told me about the huge effort required to keep the project going — a task which the entire family is devoted to, and which seems to be carried out professionally and responsibly. The grounds measure 13 hectares and are extremely well looked-after; it was lovely to be able to walk at leisure, admiring one beautiful sculpture after another.
Chillida’s unique artistic language, which he has written about in a number of texts, helps us better understand his thought process and his work. Space, time, limits, scale, emptiness, matter and horizon are all ideas which are heavily present in his visual language and which form the basis of his work. Light is another crucial element, one that is especially evident in the alabasters, as well as the idea of limitation. Chillida explores both space and emptiness: he sees both as necessary tools in the making of his sculptures.
Chillida’s philosophy is pure spatial metaphysics, which links him intellectually to Martin Heidegger. The philosopher’s thoughts in “Art and Space” (1968) are so closely aligned to Chillida’s idea of space that he actually asked the artist to illustrate his thoughts for him. According to the philosopher, sculptures create places — without them, places do not exist. I could really sense this philosophy coming alive while we were walking through the grounds.
“I believe that we all come from somewhere. Ideally, we should come from a certain place, we should have our roots somewhere, so that our arms may reach all parts of the world, and so that we may benefit from any culture, no matter where it may come from. Any place can be ideal for those who open their minds; here in my Basque Country I feel at home, like a tree with its roots in the earth beneath it, grounded in one place but with arms open to the world. I am trying to create the work of a man, my own work, and since I come from the Basque Country, my work will have a certain essence to it, a black light, which is uniquely ours.” Eduardo Chillida.
After the visit, I couldn’t help going to see the Ondarreta beach and the Peine del Viento sculpture. Chillida has created a whole new space in this beautiful beach, where one can lose oneself in contemplation of the sky, the sea and the earth among architecture that literally “combs the wind”.
My visit to the area was a great excuse to go on a gastronomic tour in San Sebastián, to please the palate rather than the eyes. This world-class tour is one of the best one can find in this region, where the Michelin stars per resident ratio is the highest in the world.
My food tour started at the Rekondo restaurant and dinner in Zuberoa (1 Michelin star). The following day, lunch at the Asador Etxebarri (1 Michelin star) and dinner at Arzak (3 Michelin stars). We finished off with a trip to Martin Berasategui (3 Michelin stars).
One of my favourite restaurants was the Asador Etxebarri, where Bittor Arginzoniz’s cooking is entirely charcoal-grilled (be it fish, seafood, vegetables or meat). The ingredients were all of the highest quality, full of a delightful charcoal and smoke taste and smell.
My other favourite was Martin Berasategui, where the menu is very light and creative, each dish an exceptional, innovative cooking experience.
In Rekondo I tasted typical home-made Basque food together with a first-rate selection of wines, which I am told is among the best in the world.
Yet another top restaurant is Zuberoa, located in a 15th century Basque country house. The head chef is Hilario Arbelaitz and it boasts a tasting menu that definitely deserves its 1 Michelin star.
To round things up, Arzak was a continuous flow of highly creative sculpture-like dishes. This is avant-garde cuisine which is constantly evolving, very different to what I experienced when I last came here many years ago.
"One must look for the untrodden paths." Eduardo Chillida. Something these chefs have certainly done...
- Written by Alejandra de Argos
I am excited, increasingly common, to establish dialogue between the art of our time with our artistic past. This exhibition has created a dialogue between the American artist Bill Viola and Baroque masters like Zurbaran, Goya, Ribera and Alonso Cano, which would be the common link emotion.
The museum of the Royal Academy of Fine Arts of San Fernando in Madrid was the place chosen to present video installations that form the exhibition "Bill Viola in dialogue."
It is understood as a reinterpretation in such an important time in our mood and emotion as feeling. The videos are developed with a slowness that is almost imperceptible, are vivid pictures with a common spirituality works with surrounding facilities.
Revisiting the important collection of pictorial art Academy adds immense value to this exhibition.
The project consists of four video installations, The Quintet of the Silent (2000), Dolorosa (2000), Silent Mountain (2001) and Surrender (2001). They show us a cocktail of intense emotions and extreme suffering, pain and tension spread through the halls and live with the mastery of the classics.
- Written by Alejandra de Argos
The Helga de Alvear gallery in Madrid recently presented the exhibition Pentagon Principle of the British - Canadian artist Angela Bulloch .
This artist belonging to the group of Young British Artists is known in the field of sculpture and installations.
Her work is based on the sound and visual effects playing with our sense perceptions . This is achieved by current technologies helped with mathematical computer programs .
Pentagon Principle revolves around the pentagon, geometric figure associated with the cosmos in antiquity. The pentagon star was the symbol of the followers of Pythagoras and Plato's Timaeus , the dodecahedron formed by pentagons is associated with the entire Universe.
This exhibition consists of sculptures that play with the figure of the pentagon , either regular or irregular , math created images that are distorted with a virtual computer program and put into reality.
Wall panels , sculptures, light boxes with those released , some with an extensive color range and other monochrome did we entered the microcosm of this artist 's perceptions .