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Blister On My Dogs Butt

For a new art of memory


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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New Feature Newest

is an English musician who is 25 years. His name is Miles Kane and is not well known in these parts, but this new track will certainly will be. The song chosen is ENTITLED Come closer, translated into English something like Come closer.
Those who want to know more about Mr. Kane, they can search you tube his previous band The Little Flames and later The Rascals, which left to become a soloist.

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Monica Dixon, lasted Home

This is the text that I had the pleasure of writing for the exhibition "The voice of the silent (the object space), which Monica Dixon exposed to 13 April at the Center Art House lasted in Mieres.

Up or down? (2010). Acrylic on canvas. 150 x 150 cm.

When you have noticed the profound value of Las Meninas or other masterpieces of the space represented -The washing of Tintoretto, the Board of the Philippines of Goya, one can impatient with the presence of the figures who occupy them. Characters and objects importune us, distract us from what we really like to see: the painted space itself, the vibration of light in the atmosphere, the essential loneliness of the stage. Velazquez and Tintoretto obviously not could engage in such contempt, but other artists after they have driven themselves to the royal family and their attendants, or Jesus and his apostles, or have been replaced by other (contingent) people-to enjoy at home the true actor these masterpieces. Goya, on the other hand, the threshold of modernity, made it very clear what he was interested in representing the largest of his paintings: no Fernando VII, remote its vanishing point, or all dispensable directors. I wanted to paint the volume of a large container of air flooded by light, as if the false vacuum outside the supreme manifestation of the painting itself.

In the context of their work, Monica Dixon has dared to take that step. As evidenced by this retrospective, intense maturation of his painting in the last decade not only builds on a growing mastery of technique but, above all in the way she has used to clear the entire pictorial space what has been perceived as anecdotal and contingent. This does not mean in any way that the human figures, footwear, clothing or household items he painted years ago with a devotion worthy of the everyday object at once realistic and still life pop art should be viewed as mere exercises or are now learning rejected in the name of some kind of progress simplistic conception of painting.

the contrary, look back on these pictures and relate them to firm Dixon now to reveal the deep coherence of this painting, his loyalty to the same poetic. If it does not paint those objects rotund, sensual, almost lovingly sobados the use and abuse took their boxes for six or seven years, and if the figures-absorbed loners and often in the same light, rarely inhabit now because the investigation into the essence of reality has shown, in the eyes of the author herself, those reasons you became less and less necessary to paint what he really seem interested, giving the impression that with singular obstinacy and best tools ever wanted to paint all along: the reality, understood as persistence. is, the melancholy of things stay in front of our eyes temporarily. And therefore, the loneliness of things and our own fleeting desolation. Although it has many features in common, and formal devotions Hopper, Warhol- with the work of the so-called English metaphysical, the metaphysics Monica Dixon played in his paintings is of a nature less self-conscious, ironic and full of appointments. Is, without more, the register an elemental awe at the beauty of a reality which, mysteriously, tend to survive. That is survive. And therefore we already somehow excluded.

What has changed over the years are the topics that Dixon traces the mystery and beauty. At first, shoes, clothes, furniture, interior architectural structures heaped almost entirely pictorial space with a flatly proclaiming the opposite of a vanitas Baroque. Things sang "here we are and here we will remain" two-fold: common objects and as objects and painted. Even uninhabited interior, which and opened a spacious decidedly painting, still full of furniture and sound textures that gave flesh to light. But the space has been gaining ground, the role of light that often erupts from the front, widening, filling the table, and the objects and skins of things have finally come out little by little the scene. Just like if it had come to the conclusion that it truly sustainable, the reality will prevail against our evanescence, not the individual things, or the particular configuration of space, but space itself and the light that reveals. Or rather, the space, painted in the form of a light that is defined in the minimum contact forms and the minimum necessary to modulate objects.

At some stages of the investigation, Dixon has also played an inevitable idea: the possibility that reality is a construction. There are inscribed in its original puzzles that deconstructs and reconstructs a single perspective or image that has previously decomposed into concentric sections. But despite the interest of these experiments, which may well be called shattered spaces taking the title of one of its parts, "in recent years dominated by two series in which the artist returned respectfully to construction excellence in painting -Western perspective, and focuses on a technique Classic to feature strongly as difficult to figure out: space, not as mere construction or vacuum, but as a presence. It does show in parallel with a touch of high purity, light-filled interiors (and backlit, shadowing, which tends to overflow the table, to accumulate in the viewer) and describing also the place from which the light: exterior. What's out? Essentially the same: more space, more air, more light, but overflowing into infinity. Tapeworms architectures displayed crushed under a luminous atmosphere, without taint of cloud in Nortemérica hopperianos rural landscapes seem to highlight what human constructions the precarious under the enduring majesty of space and sky.

And yet, neither those inside and those landscapes are areas completely alone. The lives, obviously, that we wanted to paint Goya in Board of the Philippines: the fullness, the reality of the painting itself. And also, incidentally, our gaze. Although only a passing glance absorbed.