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Galeria Fucares Almagro: Sevilla, oz�, qu� cal�! Comisario: Jes�s Reina Palaz�n - 2 Oct 2010 to 11 Dec 2010 Current Exhibition |
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Sevilla, oz�, qu� cal�! Comisario: Jes�s Reina Palaz�n Del 2 de octubre al 11 de diciembre de 2010 From October 2nd to December 11th 2010 Inauguraci�n: s�bado 2 de octubre de 2010 / 20 h. Opening: Saturday 2nd October 2010 / 8 pm Magdalena Bachiller, Manolo Bautista, Patricio Cabrera, Juan del Junco, Rub�n Guerrero,Crist�bal Quintero, Miki Leal, Gloria Mart�n, Ram�n David Morales, Jes�s Palomino, MP & MP Rosado, Jorge Yeregu�. EL TALENTO Y EL ACENTO Es dif�cil sortear su presencia abrumadora; ignorar sus protagonismos, no claudicar ante sus ambiciones. El mediod�a espa�ol, la escena art�stica al Sur de los grandes templos del arte contempor�neo, es enormemente amplia y enormemente plural, salpicada de nombres ya irreprochables, con sus perfiles menores de 40 a�os, y ser�a una irresponsabilidad hist�rica no reconocerlo. No todas las generaciones son tan brillantes ni tan fecundas como �sta; aunque tampoco tan dispar. Los igualan casi tantas cosas como los diferencian, pero ellos han elegido �unas veces ha funcionado el azar natalicio, otras la voluntad de crear y establecerse en este clima hostil- que sea Sevilla un nexo indisoluble de uni�n. Unos tienen aqu� sus estudios, comparten estrecheces en el alambicado centro de la ciudad; otros ya emigraron, pero se construyeron como artistas en Sevilla; la mayor�a estudi� entre los claustros jesu�ticos de Lara�a; y los menos optaron por irse, se dejaron seducir por la vocaci�n experimental de Cuenca, pero igualmente regresaron. Miki Leal, Mp&Mp; Rosado, Juan del Junco, Rub�n Guerrero, Gloria Mart�n, Manolo Bautista, Ram�n David Morales, Magdalena Bachiller, Manolo Bautista, Jorge Yeregui y Jes�s Palomino (el m�s veterano y, quiz�s, m�s alejado de las propuestas art�sticas de sus compa�eros) son algunos de esos nombres ya indiscutibles con los que uno se topa una y otra vez mientras pasea por el paisaje art�stico nacional; y los que m�s dinamismo, entusiasmo y frescura han aportado al arte contempor�neo de los �ltimos a�os. No ha seleccionado Jes�s Reina, por tanto, al azar. Ni se presupone en esta exposici�n una voluntad de descubrir, sino m�s bien de manifestar y posicionarse; de reivindicar a estos j�venes artistas �algunos insultantemente j�venes- como la generaci�n que m�s ha brillado en la Andaluc�a contempor�nea (si me lo permite otro estupendo grupo de artistas, en los convulsos a�os 80, que se reunieron en torno a la m�tica M�quina Espa�ola). Aunque tampoco es �sta una exposici�n complaciente, que se recree en lo que estos artistas tienen ya logrado, sino que los enfrenta y los compromete de cara al futuro. Respetando la singularidad de cada uno de sus trabajos, sus discursos personal�simos, s� podr�amos decir, sin embargo, que hay en la mayor�a de ellos una f�rrea voluntad de narrar, una defensa casi cl�sica de los formatos m�s tradicionales �la pintura por la pintura, la fotograf�a; la escultura y ciertas escenograf�as casi arquitect�nicas-; y una simpat�a por la pseudo-figuraci�n y los paisajes dom�sticos. Me gusta, por ejemplo, el inter�s de Gloria Mart�n por los espacios f�sicos y mentales en los que las personas desarrollan su existencia; el vac�o inquietante de sus pinturas. Me sigue deslumbrando el dominio del pincel de Miki Leal, c�mo engulle todas las tradiciones y luego las desembucha a su modo, con su estilo tan particular (y aqu� conectan tambi�n los trabajos de Ram�n David Morales y Rub�n Guerrero). Tambi�n me interesan los universos misteriosos de los gemelos Mp&Mp; Rosado, su teatralidad y su gusto por el simulacro. Manolo Bautista, Jorge Yeregui y Juan del Junco constituyen una misma generaci�n y tres formas muy diferentes de entender la fotograf�a. Del Junco, con sus postulados muy cercanos a la pintura; Bautista con sus juegos digitales, por donde circula un arte libre y sin estrecheces; y Yeregui, con sus paisajes naturales como vanguardia arquitect�nica. Magdalena Bachiller dibuja escenarios metaf�ricos y silenciosos, casi metaf�sicos, y el espectador viaja a trav�s de sus estructuras espaciales y vol�menes como quien camina por un t�nel hacia la luz. Y la n�mina de artistas mejor posicionados que ha dado Andaluc�a en el �ltimo lustro la cierra Jes�s Palomino, con el discurso m�s conceptual de todos y sus profundas reflexiones en torno a las pr�cticas art�sticas y su correlaci�n social y pol�tica. Fuera del tiesto de este discurso se encuentra un pintor-pintor, miembro de honor de otra generaci�n igualmente andaluza, igualmente brillante y definitoria de una d�cada: la de la colorida Sevilla de los 80. Es Patricio Cabrera (Gines, Sevilla � 1958), el pintor de la figuraci�n desle�da, de las estructuras ornamentales, de la explosi�n del cromatismo. As� pues, Sevilla, Oz�, qu� cal� es un estupendo resumen de las aportaciones andaluzas al arte contempor�neo de la �ltima d�cada, una peque�a muestra de que, en este caso, el talento y el acento (andal�) van perfectamente unidos. Amalia Bulnes. Sevilla, septiembre de 2010. TALENT AND ACCENT It is difficult to elude its overwhelming presence, ignore its prominence, not to give in to its ambitions. The Spanish heyday, the artistic scene south of the great temples of contemporary art, is enormously wide and vastly plural, full of already renowned names, with its younger-than-40 profiles, and it would be a historic irresponsibility not to recognise it. Not all generations are as brilliant nor as prolific as this one; however, neither as disparate. Almost as many things unite them as the ones which tell them apart, but they have chosen � sometimes by chance of birthplace, others by a desire to create and establish themselves in this hostile climate � that Seville be an insoluble nexus of union. Some have their studios here, sharing limited spaces in the very centre of the city; others already moved away, but developed into artists in Seville; most of them studied between the Jesuit cloisters of Lara�a street; and a few decided to leave, seduced by the experimental vocation in Cuenca, but, likewise, they returned. Miki Leal, Mp&Mp; Rosado, Juan del Junco, Rub�n Guerrero, Gloria Mart�n, Manolo Bautista, Ram�n David Morales, Magdalena Bachiller, Manolo Bautista, Jorge Yeregui and Jes�s Palomino (the most veteran, and maybe the one farthest away from the artistic proposals of his companions) are some of these already renowned names, on which one stumbles time and time again as one strolls through the national artistic landscape; and the ones who have brought most dynamism, enthusiasm and freshness to contemporary art during recent years. Jes�s Reina has thus not made a random selection. Neither has a will to discover been a presupposition for this exhibition, but rather a wish to manifest and position oneself; to vindicate these young artists � some insultingly young � as the generation which has excelled in contemporary Andalusia (if I�m excused by another fantastic group of artists, which in the convulsive 80�s gathered around the mythical Spanish Machine). However, nor is this an obliging exhibition, which entertains itself with what these artists already have accomplished, but it confronts them with, and makes them commit themselves to, the future. While we respect the singularity of each and every one of their works, and their very personal discourse, we still can say that in the majority of them, there is a strong will to narrate, an almost classical defence of the most traditional formats � painting for painting�s sake, photography; sculpture and some almost architectural scenographies; and a sympathy for pseudo-figuration and domestic landscapes. For instance, I like Gloria Martin�s interest in physical and mental spaces in which people develop their existence; the disturbing vacuum in her paintings. I continue to be struck by Miki Leal�s dominion of the brush, how he devours all traditions and then let them out in his own way, with his own particular style (and here the works of Ram�n David Morales and Rub�n Guerrero also connect). I am also interested in the mysterious universes of the twins Mp&Mp; Rosado, their theatricality and their taste for simulacra. Manolo Bautista, Jorge Yeregui and Juan del Junco form part of one single generation and three very different ways of understanding photography. Del Junco, with his postulates which are very close to painting; Bautista with his digital play, where a free and unlimited art is allowed to circulate; and Yeregui, with his natural landscapes as architectural vanguard. Magdalena Bachiller draws metaphoric and silent, almost metaphysical sceneries, and the spectator travels through her spatial structures and volumes like someone walking through a tunnel towards the light. And the name list of the best-positioned artists which Andalusia has brought forward in the last few years is ended by Jes�s Palomino, with the most conceptual discourse of all, and with his deep reflections on artistic practice and its social and political correlation. Apart from the field of this discourse we have a true painter, a honorary member from another generation, which is just as Andalusian, just as brilliant and defining of a decade: the one of the colourful Seville of the 80�s. It is Patricio Cabrera (Gines, Sevilla � 1958), the painter of diluted imagination, of ornamental structures, of an explosion of chromatism. Thus, �Sevilla, Oz�, qu� cal� (dialectal expression, freely translated �Seville, Gosh, it�s hot� , translator�s remark) is a marvellous r�sum� of the Andalusian contributions to contemporary art of the last decade, a small proof of that , in this case, talent and (Andalusian) accent go perfectly united. Amalia Bulnes. Seville, September 2010. |
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