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)
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