Flip Mino Difference Generation

line and Javier del Río

Photo: Luisma Murias

Javier del Río left behind, despite his early death, one of the most personal works - and also more varied and dispersed-recent Asturian art. Gijón painter died at age 52 in April 2004, inherited from painters or Aurelio Valle a tradition of heterodoxy and shyness, and grew all sorts of languages \u200b\u200band formats. It is therefore interesting to engage with any incursion of clarifying and, as it were, transverse the legacy of Del Rio, who review claims or suit you. In this case, under curator Luis Feás , is the Gran Hotel Regente Oviedo which has become unexpected scenario for a sample of the artist in proposing a common thread between his paintings, sculptures, prints and drawings; or, rather, a line. Since this element is that, according to Commissioner, creates unity and structure to all disciplines that Del Rio grew with his characteristic creative passion. Javier del Río, in line is the playful title of the exhibition. A game that certainly would have been amused by the artist Gijón.

(New Spain, supplement Culture, 11/25/1910)

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Reynold Reynolds, the CCAI

Secret Life from reynold.reynolds on Vimeo .

human bodies that fall, burn or explode, left at the mercy of natural forces and abandoned the scrutiny of foreign researchers, urban and domestic environments are not able to preserve their inhabitants of the essential fragility, threatened by the exuberance (or decay) of nature and the aggressiveness of mechanisms which are not all organic, choreography shared by a woman's body, growing vegetation and a watch whose line drag point eyes of the beholder ... experimental images Reynold Reynolds (Alaska, 1966) have in their infinite loops bushed from the last day 20 in Room 1 of the Antiguo Instituto Jovellanos, as invited to 48 International Festival Gijon Film in a battery of four facilities contain one of the most enchanting art shows in recent months in Asturias.

The experimentalism of Reynolds goes well beyond that of most artists these days display their work in sections of the contest Gijón, though his sense of narrative and planning and many of its tools are fully films are integrated in facilities that, in turn, are in the service of exploration of some of the obsessions of its author: philosophical considerations about time, lapse, privacy, the fragility of the human mind and the stubborn resistance of the body reduce to mechanics left ... And, aside from any of these readings more subtle, impact the audience with his strength and his twisted and sickly beauty, which aims to hit Reynolds in the subconscious of the beholder. Four

theater installations includes two parts of the multi Secrets Trilogy (the stunningly beautiful life Secret Secret and machine), Sugar, the more narrative and more air tight time four, and Seven days till Sunday, a collection of films on Super 8 in collaboration with Patrick Jolley Reynolds shows where bodies burn, explode, lie or fall from bridges, stairs or buildings in urban settings that just are not able to protect most basic forces of nature, but sometimes seem to become unleashed.

(New Spain, supplement Culture, 25/11/1910)

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Canogar, back

Days Gijon Film Festival. Now, therefore, projections from sunrise to sunset (or so we believe in the interior of the rooms: the sun is still there), some nachtwatch (few, gone the bodies ...) and almost total neglect of any other obligation or devotion. Including the log. I will update little by little, not too whore. First, Rafael Canogar to exhibit at Van Dyck; addition to the review appeared in New Spain just over a week, here's the text I wrote for the show's catalog.

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Basa. Oil on canvas (162x130 cm.)

Of all the panelists El Paso, Rafael Canogar (Toledo, 1935) has been one of the most restless and given to the exploration of new languages \u200b\u200band formats in an ongoing attempt to tune with the times (the historical and artistic) that has often led to overflow beyond the painting itself. Now, half a century after the movement English art has reconciled with the spirit of the avant-Canogar his work opens in a new phase that is at once a return: the return to the territory of pure painting and formal autonomy values \u200b\u200bthat sustained the adventure of informality. So proclaims the work compiled in the individual areas of painting, which is, in turn, return the artist to the Art Gallery Van Dyck, four years after his first exhibition at Gijon.

"I think you touched upon to rescue the space of painting, regain their poetic and metaphorical dimension, their ability to delude ourselves, to fall in love, to vibrate again," says Canogar, which, perhaps drawing energy of nostalgia and even a certain weariness, reformulate the statement of principles into a pictorial language unprecedented in it: a formula that keeps an eye on its own past performance and put another in some records contemporary European painting. Thus, the components, the flat color and rough textures and irregularities of the previous stage are occupied or deleted by the presence of creamy masses of hair oil in which chance determines finally mixtures of color: a painting establishes a tense dialogue between intellectual rigor and sensuality of expression and in formats such as paper derives to an almost mystical spirituality. Canogar-all-states to "pick up the thread of the discourse of pure painting, nothing more than painting and communication skills."

(New Spain, supplement Culture, 18/11/1910)

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fold. Oil / DM (162x120 cm.)

CANOGAR, BACK

"Despídeme and my beloved country, because my mind wants return " / Odyssey

The history of the human imagination is filled with impossible comebacks. The Gilgamesh, that of Odysseus, that of Alonso Quijano, that of Leopold Bloom, the Ethan Edwards in The Searchers; thousands of others. The inability of all is emblematic of both physical and metaphysical question as biographical, but get back to the starting point, but we learned to reverse time, we can not and could erase the experience has passed, the only restores forgotten raw canvas each life at the cost of disease and devastation. Hence, in whom is aware of this, returning will be provided, while, another way forward, not stand still, by prohibiting their inertia or immobility. It

remember all this with the amazing and intense work that brings Canogar Rafael Gijón possible return-east, and compliment to Van Dyck, four years after his first solo exhibition in the gallery. And it should be noted that what she is not surprising intensity-that, as the spirit of adventure has been the custom in each of the many searches for this artist genetically uneasily but the way in which the painter has settled her back to the territories from which his journey began half a century ago.

And I stress: a painter. As he makes clear in the expressive text included in this catalog, the painting that went Canogar Ithaca also happens to be where you want to return this artist, like Odysseus, wandering and ingenuity multiforme. There may be understandable in its statement nostalgia for origins, and also stop reading between the lines a certain weariness of crossbreeding, ruptures generic expansions and thongs that avant-garde art and Canogar with him in the historical section correspondence that has been tested over the past century-plus. During this period, under the sign of anxiety exploratory painting itself has left in search of the three dimensions of sculpture or theatrical, is left to be invaded by the external world objects and attach prosthetics and extensions, has dispelled the aura and multiplied like any other consumer icon, has evaporated or has imploded to reduced the immateriality of the concept. And in some or perhaps all of these processes, I think that's what he wants to remind Canogar-is no longer painting and refused the gains that his generation won for the twentieth-century English art. Although what really counts in the case, regardless of written manifestos and possible interpretations, is how the play itself declares Canogar similar language in their own willingness to return to field laboriously won from the Impressionist revolution: a sovereign territory of plastic qualities, pure form, feelings and emotions encrypted and self-referential materiality of paint and its properties.

course that makes returning laden with the experiences of the journey. And who knows that, as is the case, also knows that any return is chimeric because our experiences not only change us, but change the past and make us strangers in it. While it is true that Rafael Canogar want today only paint and painting, the fact remains that his way of doing this features evidence completely unprecedented in its history, traits that denounce their attention to the different ways that you can return to painting in the early twenty-first century. It is not, therefore, to try and imposed, a nostalgic reunion with the informality and the English deep underground in El Paso, with the referrals of American roots lyrical abstraction, figuration urged by the pressures of history, the radical nature Support-Surface paint, or a mixture of expressionism and constructivism with which Canogar tightened his paintings in the hot eighties. This is a reunion with the painting itself from new positions. A new land use paint available. And a reminder (surely a self-reminder) that the soil still there, open, autonomous, available to the painter.

The shape Canogar to resettle in the native soil is based on the coexistence of two basic elements: space monochrome, naked and cold, and creamy stripes of hair and dragged oil whose sensual and random mixtures displayed color arranged in horizontal or vertical occupy, usually only part of the surface. In most cases, the relationship between these two elements are respectively the background and figure, medium and presence in other, share the canvas in a tense balance or reverse those roles, so that the dense expressiveness of oil is interrupted raked across the width of empty table for uniform color, hiatus of silence reminiscent of the strong building component of the previous stage of the artist. This dialectic leads to the minimum-and maximum stress at the edge of an almost mystical spirituality-on paper with black background scratched by the spectral traces of white oil.

A fund controlled, sober, carefully reduced to a uniform color, a strip of paste applied on it with childlike joy and energy in motion a long unpredictable results: these are the components of the new synthesis undertakes Canogar in this stage of its production with gestures that could well evoke those who first disciplined and thoroughly prepared the ground for planting and then with a sweeping gesture, release and spread the seeds in the hope that prosper in this case seeds fall between the rows of oil and paste between the lines of a plastic writing whose message is very similar to an "I'm back", but "I'm back" to build something new about the old and much-missed homeland. Because, as Rafael Canogar is aware, all Ithaca is always, inevitably, in some unreachable place of the future.

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Inciting madness Sixteen

The one that you should follow- be-my collaborations weekly supplement of Culture New Spain this week you will have noticed a change in the structure and information processing: more exposure, more concise text and a somewhat lighter tone. Although it has not been possible to implement it until today, I decided a month ago, in the belief that the artist, the gallery owner or organizer makes them more service, and above all justice, a mention in the press, even if brief, silent, and as the latter is becoming usual in the art coverage of Asturias, the decision fell on its own: more coverage at the expense depth, current information and less cultural mediation, although I personally believe that the role of a weekly culture should reverse those proportions. In other words, despite the efforts of recent times to fit a couple of exhibitions this page when I have been able, "the information was left behind, the more often sunk to the rhythm of a newspaper and in a region where program is a lot of art and interest.

precisely this latter circumstance, it is likely that even with the best will each week be leaving some behind, but now be much easier to catch up and play-offs. In short, it's a mix between the brief and guide current art, but will try to squeeze the format to be not without more on the latter.

hope I have not messed up and that the new treatment is not displeased.

Incitement to madness

Fernando Gutierrez. Lubber Das (fragment).

was a matter of time (and affinities) that Fernando Gutierrez, one of the artists with the greatest personal and national art young Spaniard, engage public Bosch. The quarrying of madness, the classic XV table in which the Dutch master an allegory about human stupidity and gullibility is the origin of Lubber Das, action video and animation that sets Gijón on Liquid Space and taking the name of the character who embodied the idiocy in Dutch folklore, a central figure in the table. As shoots emerged from the same head of Das Lubber , the walls are filled with child imagery, animal and botanical through which Gutiérrez notes "the look of innocence and stupidity, not be ruled out that it is the artist himself, and invites to both the viewer's eyes adjust to the same innocence that a lot has to do with children and tell stories that we were leaving childhood. The mastery and accuracy of your drawing, always imaginative, spontaneous and poetic, makes music for the eyes to be pulled into a dance childish as reiterating encourages the child of his video installation.

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representation

Juan Fernandez. The argument (2010). Oil on canvas. 130x89 cm.

the human figure and also games, this time representing a dramatic sense as pictorial-employ Juan Fernández in Play, the sample that returned to Caicoya Guillermina. foot never losing his love confessed (and obvious) by the old masters and the exercise of the painting itself, Fernandez explores his personal research into the genre of portraiture through a collection of paintings and drawings in portrayed that are not people, but characters. His figures, many of these references or very recognizable movie icons, there are means to the search for identity, authenticity psychological under the mask of the subject, but a new layer mask system: an exploitation of the potentialities of the painting to raise possible histories by actors painted tablets in the scenery of the box.

annual Probe

(Photo by Miki Lee)

But, speaking of young talent, the event par excellence of the annual schedule awaits, almost dividing to dividing with Play in the room Blur, showcasing the twenty- Arts Exhibition of the Principality, more consolidated (and endorsed by the facts) as a useful annual survey to gauge what they're younger creators of Asturian art. The Gijon Alicia González-Lafita occupies the center of the selection of this year with the award-winning piece, which staged by the effects of light mechanical installation that reveals his training as an architect the scientific battle between Isaac Newton and Robert Hooke way, precisely, of his theories on light. The other jobs, so varied in form, technique and approach as expected (and desirable) to combine the firm emerging authors along with others in his early manhood, Noah Baranda, Adrian Cuervo, Manuel Griñón, Noemi Iglesias, Santiago Lara, Iraida Lombardy and Lucia Rivero.

"Souvenirs" from Portugal

Vicente Pastor, PT, delivered to your Portuguese experience last summer.

always close to the ground and always sensitive to all stimuli of the landscape-a landscape inhabited, lived intensely single-nature, Vicente Pastor recorded the summer of last year, the effect of that immersion in a corner of the southern coast of Portugal. They were born out in paintings angle titled Dus: a collection that claims to have returned "to the pleasure of painting-painting." While Pastor always do much more than that. In this case, he held almost intervened and became a installation, a few boats beached near Tavira in which he worked with complete spontaneity using the same pure pigments used in the architecture of the area. The result: a vibrant atlas maps painted on dozens of small territories this landscape and the feelings that resulted in the Asturian artist.

Double serving of poetry

Rocío Pinin. Parángelas (2010). Mixed media. 42x59, 4 cm.

The delicacy, lyricism and a certain melancholy notes are common to the two exhibitions, as always, share the space Texu: Birds, Rocío of Pinin, and Worlds of silence in Javier Valles. 's own biography and a tribute to singer Tino Casal mingle in the work of the former, which relies on new technologies, computer printing, then intervened, and video-translucent to build a world in gray, red and black, populated by birds and angels. For its part, the worlds of silence Valleys alternating small porcelain sculptures and olive wood with a high concentration of poetry, which also emerge in organic quality stoneware reliefs, inspired by New York architecture, and bristling with tiny buds, symbolizing the survival of something natural, and perhaps something human in urban toughness.

(The New Spain, supplement Culture, 10/11/1910)

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looking object Maojo

Giorgio de Chirico, Canto d'amore (1914). Oil on canvas (53 x 79.1)

Of the sixteen artists who meets Natura silent collective which opens tomorrow at The Collection-second room of the gallery Gijon Gema Llamazares -, none has provided the cover image that serves as the catalog-book published for the sample. Dis Berlin, curator, has chosen to cover a fragment of Canto d'amore (1914), oil painting by Giorgio de Chirico in fullness of the stage that would make him the founder and acme of the so-called metaphysical school : a way to represent objects in the world whose distinctive not so much the dream combinations and scenes that end up making the temporarily accept surrealism ranks Italian as strange and alienated the emotional intensity that is painted with each of these objects. Ultimately, being metaphysical painting is the way Chiriqui, a paint things after having looked as if they were "for the first time," as was the Chirico piazza Santa Croce in Florence before embarking on their adventure. And that extends the common ground of these sixteen contemporary artists, English, or residents in Spain in his passion for the subject, in all cases coded as natural silent still life: still life.

As pointed out by Juan Manuel Bonet Objects in silence, his introductory text to the catalog, the exhibition is to be also an apology not only painting, but very markedly from figurative painting and multimedia neotecnológicos times , as they were before other high-profile exhibition, curated by Dis Berlin, in particular The Return of the Prodigal Son (1991). Also is "a map of Spain disberlinesa" represented very different approaches and techniques in the work of Melquiades Alvarez, Juan José Aquerreta, Enric Balance, Andrea Bloise, Reyes Diaz Blanco, Marcelo Fuentes, Miguel Galano, Emilio Gonzalez, Angelica Kaak, José Luis Mazari, Chema Peralta, Alberto Pina, Sara Quintero, Esther Revuelta, Gonzalo Sicre and the actual host of this banquet of figuration objectual Dis Berlin.

works all of them have been molding the versatile geography Collection so that the viewer can enjoy the open spaces of the room, or join the white box, turned into a sort of small votive chapel painted by Galano, or collected in the darkness of the black box against a resounding Sicre or still life works of Reyes Diaz crisp white and disturbing landscapes Sara confined Quintero, who face a peculiar conversation.

painters in other cases resort, unlike in the case of the latter author, the artifice of breaking the back wall and extend beyond the predictable domestic space, incorporating the landscape to still life with full ownership. Still Life happens in the desert the same Reyes Diaz Blanco and two of the mysterious pieces of her husband, Melquiades Alvarez, or heaven in which he flies his origami geometries Chema Peralta. Sometimes, the ambiguity between inside and outside is as extreme as in the submarine Bodegón Andrea Bloise, whose pictorial space has flooded the whole picture. Further, the scale no longer matters, as in the opaque architectures Marcelo Fuentes, treated with the same compactness and organic than a natural object. And in works such as Emilio Gonzalez, the eye is suspended in an intermediate stop in the still life that includes all of the domestic space, furniture, shelves, books, all sorts of household goods.

Yet Natura dominates silent still life classic concept in which objects, their qualities and their relations concentrated all the efforts of the artists. So with the exquisite Aquerreta contributions, the re-concentrated plant Angelica Kaak representations or Alberto Pina, which become weightless and stylized Esther Revuelta, the tributes drawn from the Cubist Enric Inventory Balance or suggestions from Berlin to play Dis slide to the portrait still life, or vice versa. As in the case of Galano, that of José Luis Mazarío, profiles of the object is blurred into a kind of almost mystical trepidation.

(New Spain, supplement Culture 04.11.10)