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, Harnessing the full

Caja desencaja.

Maojo Pablo (San Pedro de Ambás, Villaviciosa, 1961) is in full maturity as an artist. It's something that your work has made it clear in recent months for visitors who have enjoyed his single room in the Cantabrian Robayera and, more recently, the Cultural Complex As Quintas de La Caridad. And now it is clear in East who reprises the title Evaristo Valle Museum and much of the recent work was seen in As Quintas. The fullness reside in a variety of records in all cases dealt with the same technical mastery and with the same loyalty to the traits that identified one of the most personal and joyful sculptures how many are now in Spain. Although

say "sculpture" is too short stay. It is true that Maojo works in principle with the concepts, procedures and tools of the sculptor, and that wood is the raw material of his work. But, as has been happening for years, its ability to overwhelm the sculpture in all directions, to painting, to architecture, even to the music or literature, makes Paul Maojo in much more than just a sculptor. And, likewise, surprised their ability to modulate a variety of records ranging from the minimalist, playful or witty, the tiny and almost nonexistent, sometimes even a vacuum, to the monumental, the poignancy and even overwhelming.

In this final section rounded presence of spare parts and body fit in my lloréu mycelium, where are the absolute protagonists exempt the sheer volume, the organic nature of wood and the beauty of the naked grain, the imposing Hard life in the gallery ... firedamp emotional construction oak and iron, full of tunnels, passages, sections threatening deterioration, the significant dislodges box, in which Maojo assembles a sort of summa that harmoniously interwoven bodies in two languages \u200b\u200bof geometry and the gross mass, the raw wood and subtly treated, or Meeting, where he also played with the duplication of forms, but this time running in one piece. And above all stands the colossal gap geologic Jurassic a relief in which the wood takes quality minerals and fossils.

At the other end, East becomes, in effect, the easternmost in the subtlety and economy of means Hexagram to trigram a sort of minimal musical construction, or evoke, intensify constructive in this case, New York's urban landscape in A NY. In underside, Through a simple twist of the arrangement of the piece apart while painting and sculpture in which the title becomes a kind of compressed instructions to read the work. Spaces expectant is a delightful exercise exigua architecture, and red bars Perhaps a micropoems size in a pattern of incisions and holes, while Box face leaves the viewer at an intermediate point between portrait sculpture and architecture. In all cases, the suggestiveness literary titles multiplies the enjoyment of works by making those who look forward to what sounds like a charade or riddle, or with labels that sound poem, for example, John Ashbery (location in the avalanche on the circumstances).

Spaces expectantly.

Finally, another block of work is closer to the pictorial to use increasingly brash and chromatically rich pigments and new methods for treating wood, such as oxides dissolved in vinegar that permeate a delicate golden halo: The lluch pol'azabache; the powerful and deep Unrest; Amares, a high profile in blue monochrome with curved rhythms and wavy in Maojo unpublished; Marines frames a feast of colors, symbols and ideograms that is both a story and a storyboard native landscape artist carved in wood in the structure Maojo keeps references to painters as Torres García.

Marines frames.

(New Spain, supplement Culture, 10/28/1910)

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chance

Snow in the forest. Mixed / canvas, 55 x 73 cm.

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chance and then channel it into a precise goal: the distillation of a deeply personal experience of the landscape, embodied in the form of painting. In these terms could be summed poetics Avelino Mallo (Langreo, 1956), reaching unprecedented heights of virtuosity and subtle landscape liquefaction, individual which amplifies the picture a few months ago deployed in the Evaristo Valle Museum Music titled eye. True to assumptions and methods that have been refined over the past three decades, painter and teacher is based on a fluid state of the pigment, which has better conditions maximum uncertainty and risk to the process, and then imposes on himself the task of redirecting the flow wisely and patiently gambling into a form that is always the landscape, but that does not aspire to mimetic representation of the landscape, but an idea, an aesthetic archetype, and while the particular experience of the landscape by someone they know by heart the nature and sensitivity assimilated equidistant between ecology and mysticism. Respect

maximum initial conditions leads to a sort of noli me tangere painting. Matter can not be manipulated directly: it seeks to realize one of his chances of heading through turns and tilts the canvas, understood in turn as a channel, river basin through which the paint flows, eddies or stagnant, branches into tributaries or re-focus, and is then again subjected to a washing process, reservations, transparencies that are as close to ideal impossible "Temptation", summarizes Mallo, "to control every drop with the mind." Between this chimera and direct manipulation of the painting as a painter puts his action, which seems more of an interpretation, musical sense of the intangible, just as the flutist modulates the flow of air through your instrument . Not surprisingly, the sensitivity of Avelino Mallo is also a musician and an expert in music, and a good reader of poetry.

The series that brings Liquefaction paint materialize varying degrees of specificity in that game with the chance that it faces, according to Mallo, "millions of unexpected connections" from the most concrete ways that articulate backlight in the woods or Snow in the forest, or some of the vast forest landscapes in Veneros, to representation by the same stream flows in this series, or other physical manifestations: light, color the vibrations of the atmosphere, the miasma and swelling on the horizon in the French Landscapes , Les coquelicots or Dim- and all of this in the series dedicated to the Northern Lights. While part of principles involved in surreal or procedures action painting and lyrical abstraction, the result is more a kind of poetic expression in which it expressed not so much the subject but the very nature of the subject through and not so much the landscape and the spirit of the landscape, the sublime, matter and energy in conflict with natural forms and ideals of beauty.

(New Spain, supplement Culture, 10/28/1910, mutating Siamese with an article by Marina Cosme that may be due to Avelino Mallo also plays the flute - my apologies).

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Richard Serra at Work (and a lateral thinking)

Richard Serra, portrayed by Ruben Fernandez, moments before his speech at Labour.

1.

In view of the spate of interviews he has dealt in recent days, it follows that the great Richard Serra is a man with clear ideas and strong views. And perhaps that their partners have been a unconventional and lazy when it comes to throw the tongue, is perfectly understandable in a meeting public and who starred in Labor, but perhaps less in talks with specialized media. During his brief but captivating way through the Art and Industrial Creation Centre, last Thursday, to talk for an hour with Rosina Gomez-Baeza Prince of Asturias Award for Arts, repeated statements that we have heard for a long time; This does not detract at all pleased to have it a few feet and check that their pronouncements paralanguage involving attitude is revealing a strong, passionate and persuasive. With the exception of the architects present (a little itchy about the fact that the artist were questioned, in turn, the status of artists) the public came out very pleased (and flattered by more than one case for the fact that Mr. Serra questioned at all times to the audience as "students"). In fact, just learned something new about the teacher: it has no objection to show, without shame, the newly rising almost make their shoes in one of his monumental works.

2.

I can not resist adding a lateral thinking, and totally partial view of the media fool pandemic every October we surrender to the glare of the lights visitors and pages filled with tons of extra special broadcast hours an awe and reverence pretended to texts, most of the time, have not read, works that are unknown (and, if known, will despise) and achievements that, in essence, care a damn. The reflection is rather the realization of a tort.

Among those attending the meeting with Serra-artists of all ages and tastes, gallery owners, architects, designers, photographers, fans generally focused much of the best of the rich and varied artistic talent that accumulates in this region, the same as at present culture is very tough for most orphan attention and media support, necessary to disclose his work and maintain a minimum presence in society. That does not require supplements or full pages, but a modest daily monitoring and elemental sensitivity public service.

course, nothing in this or hint of criticism or any challenge to Mr. Serra: if you were still hanging the strips of rubber or pouring liquid lead at the dawn of his career if he had been accommodated in the public instead of appearing as winning on the platform of Labor or the stage of Campoamor, if residing in Asturias and is limited to having talent and working as a mule in exchange for almost nothing, he would not receive, today, a treatment too than the rest of their colleagues Asturian by the media ... except, of course, that would have crossed a new version of its Tilted Arc in La Escandalera.

3.

Some of the things that went on to say Mr. Serra in the breviary:

- The basic attitude of the artist, in particular the beginning, should be to question, to demystify authoring, learning to ask.

- can not teach art. You can, in any case, direct the student to the different sensitivities of history art.

- authority is never a guide. Each artist must invent their own methods, to find their own tools and his own creative path based on intelligence and obsession, must find its own language, logic and the need that drives him to create his works.

- " All material whether it is good to express what is needed to express." What is the willingness to do.

- An essential part of Serra's own work is to develop processes to capture "verbs of motion" in material objects.

- Gravity can be used as a force for creating forms-based unstructured.

- does not have much to define a priori artistic discipline in which to work, but the movement time, the material to be used in each case. There are no standard procedures, no standard tools.

- The emergence of the cultural industry has created a market that inhibits and limits the creativity of artists.

- The mass media, new information technologies and new virtual media have replaced the physical experience of time.

- The art object is no longer on the pedestal, but remains in the cabinet, there is a divorce from the plane that is the artwork and the plane that looks, thinks and is.

- should be forced to work with that which you do not have familiarity and what can not be found handholds.

- "Drawing my hand becomes an extension of my central nervous system."

- The use of repetition as a method favors changes that enrich what is repeated.

- " work for me, but with the hope that people can find then I do something that is valuable information."

- Art is useless to functional effects. It is a product for sale or design, and the only function affects the soul, sensitivity, spirit.

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A Cornucopia

Vanitas II. Oil on canvas. 81x65 cm.

"A movement, a life, an idea of \u200b\u200btransit Who knows where to stop. " Javier Victorero (Oviedo, 1967) take hold of that idea of \u200b\u200bsomething that moves and moves "on three levels: within each box, including pictures of each series and between the set of all tables "- to frame, in turn, the paintings displayed in a new individual in the room Cornión Gijon; not in vain Transit is the title chosen for the sample, and that attitude is transient and mobile Victorero seems to expect that the eyes: a move by the works, coming and going "slow and calm, as slow and quiet has been the act of painting" that "they come across all that was left by the wayside. "

There is no contradiction between the aspiration to move and the fact that Victorero remain faithful to the geometry and pictorial language. Because, in your case, does not have the static geometry and the austerity of the constructive, but is presented as the common language they share music, poetry and painting: the rate, iterations, variations and the contrasts between a number of elements that, in the case of this painting, are reduced to the minimum-line, color and pictorial material, which, however, falls far short of fleshings and intellectual rigors of any minimalism.

Because, as noted in his text for the catalog critic Juan Manuel Bonet, is in the works of "Traffic" a "echoes the sound of the world," an allusion to permanent forms, themes and references that are not exhausted in their own games geometry, color and pictorial material. There is nothing difficult to walk the three main series in the exhibition unfolds -Blossoming Night, Matins- Vanitas and the viewer will find echoes of the classic English baroque still life to Luis Fernández or Palazuelo and discover in the works compact plant forms whose ranges suggest a fullness to the edge same decay; horizons blurred, spaces that build variations on a vertical pattern of gothic spirituality, or hatched in ways that suggest mental processes associated with hallucinatory insistence, obsession, sleep or insomnia. Facing

subtle tones and glazes Celeste, shown in his previous Cornión, and continuing with the forcefulness chromatic Black Light, with which attended the prestigious hall Robayera Cantabrian last year, uses Victorero color with a strength of two directions: first, into the darkness, toward the consumption of all forms in a physical and tangible blackness, for another, to sensuality that is almost always subtly and with restraint, but also breaks in play Contrast that vibrate the paint and violent, as in some parts of the series Blossom night. The same delicate flesh is to be found in its use of pictorial material: the hue that goes from matte to glossy, color washing almost to the plasticity of the dough, the smoothness of the textures almost imperceptible.

"In the end, there is only one example of the painting as I understand it," sums Victorero. And that way of understanding is revealed well before titles, and themes-such as soaking his series Matins; a hint that not in vain, carries religious evocations: "Painting is a ritual, and the paint is prayer, the ritual of painting. Is clearly not a sentence in the strictly religious sense, but neither should we be afraid to use words and concepts that are part of our own culture, "says the author, not in vain, has Bach, one of teachers of prayer in any possible sense of the term, Rothko, the greatest religious painter of this time and the author of one of his most touching chapels, and two of his favorite references.

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painted oratorio the dark god

sculptural intervention Detail legal course, on the altar of the chapel of the Trinity. Photo: Juan Plaza.

has rarely been so powerful and expressive a rereading of the ancient sacred space of the chapel of the Trinity as legal tender , artist's sculptural intervention Murcia Juan Ramón Rico Lidó (Yecla , 1968) which these days occupies the museum's most unusual space Juan Barjola. The artist has transformed the large white altar cloth, one of the niches and part of the wall that surrounds and supports part of a torn allegory subjugation of man by force Lidó Rico complaint and the dark god of the time: money. An all-embracing in its malignant power, embodied and family in the giant form of the symbol which enhances legal tender as a divinity to enter in the front of the chapel in a high profile which mixes dozens of human heads and limbs emerge agony of the wall between gold bullion sacred books, phones and other everyday objects.

That sort of perverse cornucopia is a work center complete with all the figures that emerge from a niche and are scattered by the side of the ancient temple. In all cases, Lidó Rico relies on the constant formal and conceptual work has been unmistakable: the use of hyper reliefs in which the mold is invariably the face and body expressions showing the artist torn, painful, violent or bizarre, and is implanted directly on the wall, whose abstract whiteness seem to sprout in a desperate attempt to attack or escape. While some of them are covered with masks, in an obvious hint that binds the robber, the terrorist and the anonymous spirit of "collusion between merchants" who openly denounces legal course- displayed as anonymous other manifestations of submission or pain . Such a procedure

work, constantly referring to your body as a source of artistic creation while it alienates to represent the universal drama of contemporary man, connected with the physical intensity and dramatic performance , as is clear from the video that accompanies the procedure. It shows in all its intensity the agonizing process of preparing the figures, in which matter is submerged and buried the artist. While Lidó Rico is powered directly from the strength of Hellenistic sculpture, Miguel Angel and Baroque more violent, religious imagery, the catacombs and the votive offerings, and also references the irony epic closer, such as Robert Longo of the Corporate Wars. Complete

shows Cluster bombs installation, in which the artist focuses on yeclano another baroque emblems par excellence, the skull, which also appears extensively in legal tender, sometimes evoking gemstone jewelry. Lidó Rico has held the museum's main lobby Barjola with a great spiral of transparent skulls skulls filled with other children, who make up a dizzying, endless dance of death that seems impossible to escape.

(New Spain, supplement Culture, 14/10/1910)