The building, designed by Jovino Martinez Sierra to the fledgling Castrillón Cultural Center Valey is a statement of principles set to mm in the urban setting of Piedras Blancas, diaphanous, almost turned on the square in Europe and, in turn, accessible to the external view, the perfect incarnation of his aspirac architectural ion-integrate culture into what it has of shared heritage, common memory, but also exploration and outposts, normally in everyday life council. But perhaps the Valey point from which to receive the most significant impact is the passage through the building and reveals from above the passer splendid exhibition hall. And, within it, the brilliance and flashes digital pieces that make up the inaugural exhibition center: trails and signs, a strictly contemporary art exhibition which is, again, a declaration of principles.
Labor Cooperation with Center for Art and Industrial Creation, curated chief curator Benjamin Weil has, in turn, this collective in the past and the identity of the area, the most immediate, Castrillón, but also that of all industrial and mining Asturias-circulate into the art room Through the work of four artists: Barbara Fluxá (Madrid, 1974), Nicholas Combarro (A Coruña, 1979), Angel de la Rubia (Vigo, 1981) and Esther G. Victor Gijón What Trails and evidence is of symbolic about the intentions of the Valey is given, of course, by this attention to the precise social and cultural ground on which rests the Center, and his desire to have him from the first time. Also collaboration with other entities, Labor in this case.
But above all, what counts as a declaration of intent are the characteristics of creative and creations chosen as the figurehead of artistic programming, nothing of the Pharaohs, no concessions to populism or paternalistic condescension, and other attention to new formats, young artists and contemporary art areas where the average viewer can find anchors and senses. And besides, something that worries both the commissioner and the director of the Center, Jaime Luis Martín- seeking to reconcile the contemporary artistic sensibility and tooling hipertecnificado and increasingly immaterial to the carnality of daily life and memories of their target .
Barbara Fluxá. Cultural Landscape Sunken Argusino. (Fragment). The visitor accessing the room beneath ground level, is encuenta first with the powerful video installation by Barbara Fluxá on reservoir Almond, Zamora. Cultural Landscape Sunken Argusino practice literally, diving in the deep memory of the landscape and indisputable revelation of what it is human cultural construction. Using bathymetry and sonometría techniques, the artist has swept the bottom of the reservoir to reconstruct three-dimensional image of the remains of people Argusino, buried under the waters. Although shaken, his vision is not nostalgia for appeals to the rural arcadia any loss or cutting idealizations Fluxá ecologist considers, moreover, "hypocrites", but rather notes the scope of the human environment as a result of the relationship between man and nature.
Combarro Nicholas. Black Series. Castrillón The industrial past is present through Black Series, Nicholas work on mine Combarro Arnao, permanently present in the Cultural Centre through the "valey" that alludes to the name that was given to certain cross the mine galleries. Combarro is also close to the fusion of landscape and human action, but in this case through the structures associated with the exploitation of natural resources. On the one hand, with a piece of video that obsessively and retail surrounding a splendid model of José Luis Gutiérrez the headframe of the mine Arnao, revealing what it's organic, otherwise, by a photographic series documenting several interventions sculpture in the archaeological ruins of mining operations (one of which happened, incidentally, in the latest edition of Arc to be part of the collection the Maria Cristina Foundation Masaveu Peterson).
Ángel de la Rubia. Gallery. Perspective facilities Blonde Angel is more attentive to the sociological aspects connected with the development of the central valleys arising from mining development. Gallery addition, a battery of video installations with images of its activity at the mine, De la Rubia has interior facade, an intervention in one of the walls of the room in which the housing slides in a common working current superimposed on a grid drawn on the wall is actually the exact transcription of a brick wall as revealed after the plaster. The merger of these two images, and associated concepts of interiority and exteriority, privacy and construction point to the artist's interest in showing the way in which the planning of estates workers wrapped a precise way of crosslinking, influence, manage and control the lives of workers.
Esther G. Victor MVLB 3RE-Conversion, 2010. Finally, Esther G. Victor provides the most open part lyrical whole MVLB 3RE-Conversion, 2010, in which pieces of industrial machinery and mineral fragments reinterprtetados treated as sculptures or light boxes come in relation to a hazardous installation, almost surreal, that reproduces the formula derived = Entertainment + consciousness "the author states as a method of work in this installation.
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