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.
represent
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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