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Carnival of youth creativity


The critic at El Periódico de España reviews three exhibitions of rentier art in Madrid: those by Blanca Gracia, Luis Vasallo and Leonor Serrano Rivas. different balance

Children’s stories is a collection of brutality: Orphans, curses and cannibal beasts. In his unique act of sadism, he frightens the next generation by teaching him, exaggeratedly and at the wrong time, the cruelty that life preserves. In what is given to children, there is a strange mixture of frankness and brutality found nowhere else: outrageous manners in gloomy colours, lullabies filled with resentment. Lorca writes with astonishment that lullabies “have retained the label of a child’s sleep as the deadliest, least suited to his sensitive sensibilities.”

In medieval English law, there was a formula for negation worthy of being represented in a Disney movie. “Let his head be a wolf. Declare that you are free as birds in the air and beasts in the forest and fish in the water. You will have no peace, you will have no companionship in any path or domain of the emperor.” Outside of society, deprived of all ties, only the autonomy of insects remains. Aristotle said before: He who lives alone is either a beast or a god.

white blessing (Madrid, 1989) uses this idea to organize his last exhibition in Young Art Hall of the Community of Madrid. wolf head It is made up of three spaces in which, through scenographic sources, The spectator moves from the civilized to the wild, from the rational to the absurd or from waking to dreams. In the first room there is a play of shadows that can be seen through the holes in the wall. Small colored silhouettes show amphora, fires, Sisyphus with his rock, noose, apocalyptic dances and René Descartes. Leaving this tradition of the Platonic cave, a curtain is crossed that intersects the second room, where, through textile elements, a wooded space is created surrounding the columns of the room with vines and men who, as they climb, become animals. Among the warmth of the fabrics, small copper plants stand out from which animals, the sun and small animals bloom. Finally, in the last room, the visitor witnesses a carnival procession, in which beings of all kinds (a pregnant woman with a mandrake, a demon, a hunter, a spotted sexual partner, a snail with a boat on its rump or a harbinger carrying floripondium) happily, constantly, day and night.

wolf head It is a wonderful carnival, a celebration in which the little characters with a childlike vibe tell a story that is both trivial and profound at the same time. It is one of those rare fairs that you visit with joy. Added to the artist’s work, the skillful supervision of Pillar Solaire Monteswho has managed to ‘tame’ the ostentatiousness and poor conditions of the room with a clever montage, which manages to substantiate a proposition that could easily have been scattered both visually and narratively.

Anyone who has been interested in the anecdotes and stories that make up our culture will notice how the same structures repeat over and over again. Virgins who give birth, brothers who kill themselves or abandoned children who turn into children of great princes. Levi Strauss He called this irreducible part of the mythical story “mythemes”, creating a similar concept of vocabulary. the painter Louis Vasallo (Madrid, 1981) chose this word for the title of his exhibition in Valverde spaceusing this idea Trace a lineage of paintings linking the Baroque to the historical avant-garde. Fear no one: unconventional and casual connections are a valuable prerogative of the arts. Vasallu’s proposal consists, chiefly, of assembling those great paintings of titans and gods so that, once reduced to essential elements, external elements are inserted into them.

Luis Vasallo, “La fragua de Vulcano IV (Vulcano’s Forge IV)”, 2022./ Valverde space

Through this exercise, Vasallo demonstrates his sharpness of vision and his remarkable ability to create images with unexpected elements (From Velázquez to Graphic Design). I find, however, that the business that explain Action (eg, version Vulcans Forge), where everything is clearer, less interesting than where it is The process has It was applied more rigorously and without handles: the series of hieroglyphs concluding the gallery, the exhibition’s catchy themes reduced to a semi-coded message (just a few lines, a predominant color, some iconic elements).

Eleanor Cyrano Rivas (Málaga, 1986) recently opened his solo show at Reina Sofía, inside the program crackswhich organizes exhibitions for mid-career artists. It is an exhibition organized in three spaces not connected to the museum, where the artist offers to display the same motifs in Three different artifacts “inspired” by theatrical resources and magic and illusion tricks. Thus, in Space 1, a video is shown in which some characters play, rotate and find themselves in a room full of rotating devices. The video is framed by two large reflective surfaces that point to the mirror rooms. The Vaulted Room hosts a 16mm display that is projected from one end of the room into a screen suspended horizontally from the ceiling. The projection is carried out by bouncing a beam of light through a mechanism of mirrors that has been able to overcome obstacles in the room. The image consists of pigments subject to the sounds of the movie Space 1, forming those patterns called Chladni plates, in a sequence we’re told was not edited for this review of Magic Lantern. Creed 95 is still in fashion, damn it.

Finally, in the protocol room, we return to the happy melody of the video that leads it all: first through music boxes amplified by drums; Later, in tapestries inspired by the Jaquard loom (an invention that allowed weaving with punched card guide) and in folded manner the EW Brown moon tables.

natural magicwhich is the name of the exhibition, Presents a grandiose letter full of historical references which poetry collects (referring to that moment when science, philosophy, and common procedures are so difficult) unfolds in a flashy and cold montage, which frames some Businesses that are too complex to be anecdotal. And the distance a visitor has to travel between one room and another does not help, since one can completely forget where he came from and why he was going. Unfortunately, it is one of those exhibits that is seldom more interesting than seen: one of those instances where rhetorical hyperinflation works against action.

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