FLAVIO GARCIANDÍA’S SELF-REVISIONISM
Flavio Garciandía (Caibarién, Cuba, 1954) becomes the active and passive subject of his work in his first solo exhibition in Madrid.
Already starting from the irony that underlies the play on words in the name of the show, Flavio Garciandía y Flavio Garciandía exhiben juntos (otra vez) (Flavio Garciandía and Flavio Garciandía exhibit together (again), we can come to understand all the intention and effort that the Cuban, one of the top figures of the generation of painters of the 80s on the island who made an impact with their aesthetics, deploys. This time, his objective, and almost instrumental, is himself, reflecting on that mirror that in his person is produced by a global and capitalized art industry and from which he has always tried to escape.
Focusing on the expression of that irony, the choice of his works as passive actors of that reference to oneself and of that valuation that with perspective can be made, is not casual. Since he showed in his works that intentionality of combining power and market, of referencing social realism and pop at the same time, his criticism has been directed towards the elitism that is presupposed to an industry condemned to deal exclusively with the wealthy classes. That is where his machine is set in motion, incorporating popular references to the elitist imaginary, with the frijol as the maximum symbol, evolving, due to its insertion in an elevated class of society, from being an element of poor idiosyncrasy to a sacralised and ironic symbol invited to high society. This game, a reflection of the social and shown from the technique used in his painting to the very iconography of the great names of art as metaphors of that deep social gap, has no apparent winner. Perhaps therein lies that post-conceptualism, the same one by which Garciandía asks himself if everything is falsified or if any exercise of denunciation can become useless.
Flavio Garciandía y Flavio Garciandía exhiben juntos (otra vez) is on display until May 11 at Galería El Apartamento (Madrid space), Puebla, 4, Madrid, Spain.
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Casa de América inaugurated two exhibitions of Peruvian art: Memoria del Perú. Photographs 1890-1950, with works by various photographers that capture a significant period in the country's history, and Shipibo-Konibo. Portraits of my blood, with photographs by artist David Diaz on the life of the Shipibo-Konibo.
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CABIESES’ INTERCEPTED IMAGE
The geometry in Jorge Cabieses' (Lima, Peru, 1971) usual outline is broken with the action of the spontaneity of the curved and almost organic stroke in his second solo exhibition in the Spanish capital. The Lima-born artist thus proposes, in a certain way, a dialogue between the artificial of the synthetic and the atavistic through the incorporation of those more spontaneous brushstrokes over the usual framework of rectitude that the artist usually presents.
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The exhibition Teresa Solar Abbourd. Pájaro sueño de máquina (Bird dream of machine) in CA2M Museum presents two large installations that condense the artist's research in recent years. It is curated by Tania Pardo and Claudia Segura Campins.
The Elba Benítez gallery presented Carlos Garaicoa's exhibition, entitled π=3,1416. The show is made up of a body of unpublished works born from the artist's desire to delve into the pictorial tradition of Latin American geometric abstraction, this time on wood.
Valencian gallery Jorge Lopez is programming a solo exhibition by artist Claudia Joskowizc (Santa Cruz de la Sierra, Bolivia, 1968) that brings together the audiovisual and performative techniques with which the Bolivian artist builds the narrative and chronology of her native country.
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Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
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CABIESES’ INTERCEPTED IMAGE
The geometry in Jorge Cabieses' (Lima, Peru, 1971) usual outline is broken with the action of the spontaneity of the curved and almost organic stroke in his second solo exhibition in the Spanish capital. The Lima-born artist thus proposes, in a certain way, a dialogue between the artificial of the synthetic and the atavistic through the incorporation of those more spontaneous brushstrokes over the usual framework of rectitude that the artist usually presents.
Two decades after Miguel Ángel Rojas (1946, Bogotá, Colombia) conceptualized in his project David Quiebramales his denunciation of violence and the use of education as the most efficient vehicle towards a catharsis for those who suffer it, the Madrid headquarters of La Cometa revisits his most emblematic work and reinterprets it as the framework for a kind of thematic retrospective. This commemoration of that first David Quiebramales reinforces a view that is still difficult to overcome and that, even today, serves to trace those harmful social dynamics that are created between society and war, the institutional and the political systems.
TOWARDS MIGUEL ÁNGEL ROJAS' QUIEBRAMALES
Two decades after Miguel Ángel Rojas (1946, Bogotá, Colombia) conceptualized in his project David Quiebramales his denunciation of violence and the use of education as the most efficient vehicle towards a catharsis for those who suffer it, the Madrid headquarters of La Cometa revisits his most emblematic work and reinterprets it as the framework for a kind of thematic retrospective. This commemoration of that first David Quiebramales reinforces a view that is still difficult to overcome and that, even today, serves to trace those harmful social dynamics that are created between society and war, the institutional and the political systems.
The exhibition Teresa Solar Abbourd. Pájaro sueño de máquina (Bird dream of machine) in CA2M Museum presents two large installations that condense the artist's research in recent years. It is curated by Tania Pardo and Claudia Segura Campins.
RESISTANCE AND EMPTINESS: TERESA SOLAR ABBOUD AT CA2M
The exhibition Teresa Solar Abbourd. Pájaro sueño de máquina (Bird dream of machine) in CA2M Museum presents two large installations that condense the artist's research in recent years. It is curated by Tania Pardo and Claudia Segura Campins.
The Elba Benítez gallery presented Carlos Garaicoa's exhibition, entitled π=3,1416. The show is made up of a body of unpublished works born from the artist's desire to delve into the pictorial tradition of Latin American geometric abstraction, this time on wood.
Valencian gallery Jorge Lopez is programming a solo exhibition by artist Claudia Joskowizc (Santa Cruz de la Sierra, Bolivia, 1968) that brings together the audiovisual and performative techniques with which the Bolivian artist builds the narrative and chronology of her native country.
CLAUDIA JOSKOWIZC, SOLO EXHBITION AT VALENCIA
Valencian gallery Jorge Lopez is programming a solo exhibition by artist Claudia Joskowizc (Santa Cruz de la Sierra, Bolivia, 1968) that brings together the audiovisual and performative techniques with which the Bolivian artist builds the narrative and chronology of her native country.
Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
BOSCO SODI AND THE VOLUME OF DARKNESS
Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
THE BALANCED REPRESENTATION OF LO LATINOAMERICANO IN THE JORGE M. PÉREZ COLLECTION
The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
HERENCIA. PROYECTO 360º AND THE RECONSIDERATION OF OUR ACTIONS
The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
