Influye Comunicaciones. Mayumi Arce. Armando Vasquez Pacheco. Martin Dontriana. Pick It Up - Various - Bravo Hits Vol. 14 Loe. Leonardo Daniel Emp. Sicea Ingenieria. Dulce Arguijo. Editorial El Vigia. Artemio Garcia. Jose V. Ciencias Uno. Almyta Rivera. Popular en Science. Edy Arias Ojeda. Rosa Pilar Murguia Castillo. Marian Campos Caicedo.
Alexander Alvarado Villanueva. Julio Ayala Espinosa. Juan C Orellana. Miguel Hernandez Mendoza. Victor Hugo Gonzalez. Paolo Robert. Kevinsidious Possessed. Betsy Lily Burela. Federico Mejuto. Fernando Raul Alvear Cervantes. Javier Lee. Sarah Ramos. Karla Lopez. Markos Garay. Camilo Zapata. Gipson Zambrano. Lucas A. Palabras clave: Primeros AuxiliosspunkX-pain.
The Instigation - demo Palabras clave: ChinahardcorepunkThe Instigationthrash. Palabras clave: crustDisplagueX-pain. Palabras clave: crustGoddammitgrindcorehardcoreKoboryX-pain. Palabras clave: DesbrozadoragrindcorepunkthrashX-pain. Suscribirse a: Entradas Atom. Orden Mundial - Funeral Dawn Music - Vernon Duke - Time Remembered estado.
Instinto - Dominacion. In addition, Mexico - Grace Slick - The Best Of can mention what he calls Arquitecturas transformadas, which modify an existing building with special interventions.
Finally, he proposed highly imaginative projects that are functional and at Gu Ez Gara - Latzen - Heriotzari Deika same time playful and utopian in a series of projects he called Architectural Games s.
Apart from his architectonic-urban interventions, his creative Bringing It Back - Beastie Boys - We Salute You seems limitless, as seen in his unceasing lectures, workshops, collaborations with neighbourhood associations and his assistance at meetings, competitions, biennales and other events that allow him to spread his ideas and projects while at the same time producing them.
Espejos del alma. Comunidad de Madrid, Madrid; Obras en las Artes. La punta del iceberg. El viaje de luna. Al Sur del Sur. Faro, Portugal; She is a photographer trained in the territories of photo-journalism who is able to seek out proximity in order to maintain her distance.
Unhurriedly, with patience and naturality, she gets involved in the situations she wants to portray, thus attempting to capture the exact instant with nothing to cloud reality or the course of events. She is El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales all interested in being able to capture the human essence of the most unprotected persons and to reinforce their dignitiy or nobility, rather than dwelling on their pains. Apart from this photojournalistic facet that she cultivates with passion, her work also has a more subjective side where she gives full play to her less known inner expression.
She is also the graphic chronicler of Huelva at the beginning of the 21st century, her eye recording for posterity places, moments and characters that have marked the recent history of the city and province of the same name.
Canon Perpetuo. Palacio Condes de Gabia, Sala Baja. Espacio Anfibio, Granada. Arte jondo. Granada arte hoy. Palacio de Dar al-horra, Granada; Espacio Anfibio, Granada; Colectiva.
Museo Alfonso Ariza. Y es que, como bien muestra la serie Barataria -escultura de alambre que juega a ser falsa arquitectura- la simplicidad es bastante compleja. Several stone monoliths of considerable size hang by steel cables from the ceiling. The white cubic space is free and diaphanous for the spectator.
Tight against the wall the monoliths gradually begin to come free of the adhesive tape, to inexorably fall and, in so doing, to bang into each other and block the tranquil, unobstructed view of the museum space. No matter how we might like them to be, things always end up being what they are.
The most outstanding thing is that not only volume, rotundity and gravity are present in his work, but also uncertainty, faulty control, accident and transformation. Sometimes it fell on a canvas, creating a dripping that was both random and calculated; other times the mould of his self-portrait became a shapeless mass or ended El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales revealing the labyrinthine materiality of a network of wires.
In the installation Canon Perpetuo a large ventilator and its effect on an expanded El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales of roly-polys ended up by forming a small ecosystem of Aubrey - Perry Como - And I Love You So (8-Track Cartridge, Album), a landscape of passages.
The fact is that simplicity is rather complex, as is well illustrated by the series Barataria — wire sculpture pretending to be false architecture. Exposiciones, festivales y exhibiciones individuales y colectivas: Sel. La Habana, Sliimy - Wake Up - Remixes Estreno Oct. To make the not yet present achieve presence. That is one of the motives animating the artistic proposal of Daniel Cuberta.
In the case of Cuberta, sense is provided through its relation to language, which acts as a true support for the conceptual structure of his creations. Indeed, the texts gradually inserted over the images, recited in a severe tone by a voice over, or that give a piece or series of pieces its title, are what reveal the true sense of each work.
Here, however, the tone is more lyrical — a heart-shaped lollipop is devoured by ants, beaten by the automatic doors of a lift, melted by the heat of a frying pan or buried in ice cubes; a hempseed heart is pecked by pigeons; another, painted on the wall, falls struck by a blow with a mallet. They certainly are little heart attacks. Videoclip ; This interest in showing the hidden aspects of things determines a fragmentary strategy when El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales comes to scrutinizing reality.
His approach to reality is that of someone whose relation with it is one of complicity and communion, someone who attempts to reveal some of its most hidden aspects. That is why he entrusts us with so many secrets — to paint streaks on the sky, to make tops spin, to create islands and cast them into the sea — especially in Great Britain — to write circular stories, to recognize and identify the names in the crowd, to live in enchanted houses, to make pigeons fly, to paint maps of the world, to never speak again.
We also find in Daniel Cuberta a nomadic spirit linked with his existential attitude. In Todos los sitios del mundoan elevator transports us upwards while a hand wields a key that scratches everything it comes across. But we know that the nomad is he who goes from one territory to another, precisely because he does not want to abandon his own territory, the one where he wants to live forever. In the eyes of Daniel Cuberta, reality casts off its material appearance and lets us glimpse its more poetic and mystical nature.
Sanxenxo, Pontevedra; Iglesia de La Merced. Salida de Incendios. MACO Pinacoteca de Almonte, Huelva. Garaikoitz Cuevas makes colourist expressionism his most customary aesthetic ideology.
Here he feels comfortable and is able to shape an extreme work, where he is in tune with the vehement gestures organized around subtle brushstrokes until a pictorial body is created in which the plastic material exercises its differentiating function. His painting, carried out with the typical excesses of powerful pictorial graphics, nonetheless leads us through paths where we find limits full of subtlety, contention and chromatic precision. The very formal violence of the passionate gesture is softened by an argumental line of soft connotations that suspends the automatism of action of the pure expressive gesture.
IV of forms wanders through the works of Cuevas which, far from suggesting a redundant complex, prepares a structure full of visual charm and open to the utmost encounters and positions. His work is attractive in form and content, it is located in the committed scenarios of an abstract art that not all can reach.
Here, El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales chromatic positions create a valid scenography, an argumentation we find immediate and that manages to envelope us in the maximum essence of an exciting art far removed from epidermic minima to bring us closer to a veiled spirituality natural to the best non-concrete painting.
Turn On. Bolsillos de Aire. Ayuntamiento de Granada; El color de lo abstracto. XX X XV. Santa Fe. Ojos del Sur. Parlamento Europeo. Centro Cultural Caja-Granada. Madrid; Granada. Arte Hoy. Sala de exposiciones del Antiguo Cuartel de Sementales. Cuerpo a Cuerpo. Palacio de la Madraza. Crucero del Hospital Real; III Concurso de Pintura.
Madrid; Sentimiento espacial y locura. Ayuntamiento de Granada; Cuerpo a Cuerpo. Ayuntamiento de Granada.
Expandida, desbordada, contaminada e hibridada, la pintura ha vuelto a resucitar de entre los muertos, a pesar de los agoreros que, desde los setenta, diagnosticaban ya una muerte anunciada. To work in the opening of new roads and paths for the discipline of painting has been one of the great challenges for art today in Andalusia.
Her works are marked or stamped by the use of material like nylon threads, that Cutillas began to use in an initial series lasting from towhere the chromatic combination in a vertical diptych format make it resemble a series of experiences in minimalist painting where the picture becomes an object with an important sculptural presence.
After these first experiments with colour, geometry and nylon, the series Interferencias arrived inthrough which she continued to experiment with fields of colour until, inshe took the step towards the series Televisores — one of her best known projects in which the influence of visual culture in the sense given to it by theoreticians such as Mitchell determines the configuration of her language.
Snatches of teletext, faces of actors and actresses in tv series, devices of contrasting colour and another series of images taken from television filter El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales the nylon threads to weave new senses and meanings for her work. El lugar de las agujas. Del otro lado. Universidad de Granada; Fragmentos de Tiempo. Obra Social Caja Madrid. Granada; Valencia.
Her photographs, drawings and paintings seek the dramatic beauty underlying the dark other side of reality, constructing in those invisible whereabouts mysterious spaces of silence. Her photographs —many of which are push-processed to emphasize grain and capture moments with no light — are moments of penumbra inaccessible to the human eye, hidden, sleeping places of strict intimacy that the artist captures with the precision of a night stalker searching for species in danger of extinction.
Her drawings and pictures, painted in silver on a black background, a luminous impulses of dense, vivid strokes, works that, with the passing of the years, gain in abstraction and compactness.
Her Espacios de naufragio series makes use of the metaphor of disaster at sea to create dark places where remains of objects, ideas or movements appear. El Kalima - Feeling Fine sin Cabeza. Espacio Invisible, Sevilla; Paisaje Re-conocido. Zona Joven. Instituto Andaluz de Juventud, Huelva; Vervisiones Video de Artistas.
Sala la Llotgeta. Sala de Exposiciones Edificio Rectorado. Zona Joven IAJ. Festival internacional de video. Valencia; Solo un momento. Sala de Star. Sevilla; El Pecadero. Industria Valencia; Scarpia. El Carpio. Sala Naranja. Valencia; Bestiari. These are developed using the common denominator of collage as operative technique, wisely combined with cut-out images from illustrated texts and painted figuration.
In the series Hombre sin cabeza, different representations of maps of continents and countries are taken as spatial context for the presentation of headless men wearing suits and living with the most heterogeneous elements, El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales they mechanical objects, domestic appliances or marine fauna. This series, made up of interesting plastic discoveries, is presided by the ideas of displacement, loss and lack of awareness.
On masculinity and identity, the artist El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales the same procedures of randomly combining images and situations to consider the construction of roles and personalities according to established, conventional norms imposed since childhood in the absence of freedom and other formative alternatives represented here in the figure of a child or teenager for example, and taking the pink tone as a symbol of innocence and spontaneitywhich is manipulated by the imposition of an established order, visible in a repertory of paradoxical situations and attitudes, emphasized by their ironic titles.
Formally and in opposition to the pictorial series, the clean, neutral backgrounds give the representation greater plastic resolution. Festival de Cultura Urbana. Nave Cultural Itinerante. Colectivo Blitz y Cajasol.
TV Show Transfer. Mercado de Arte Visual. Iguapop Gallery, Barcelona; Duck fever show. Their animations have focussed attention on an area of art which, thanks to them, is discovering the complexities of an art immersed in the most vibrant, immediate coordinates of contemporary creation.
This latter situation is where we believe them to be most comfortable, offering work based on the ancient mandalas that attempts to unify traditional criteria with basically contemporary ones. In this sense, their installations offer personal visions of a compact universe where in turn minimal sequences occur that intervene in their own right in the total conception of the work.
The spectator plays a collaborative role in their productions, being able to choose at any moment ways of active intervention and creating multiple forms oscillating between the general and the detailed so as to, at the same time, create new positions that develop independent Be - Deepak Chopra & Friends - A Gift Of Love II (Oceans Of Ecstasy). This is an illusory interventionist game where everything is subjected to the magic of an installation in continuous process and the search for an intentionality that does not rest at a single representative system.
Their artistic situation is absolutely involved in the commitments of an art that is here truly contemporary. El Delirio de la Reina. Carmen de la Victoria. Bienal de Escultura de Valladolid. Sala Alta. Palacio de Los Condes de Gabia. In these first installations the activation of the space was complemented by an atmospheric nuance in the accumulations of objects, either as a reticule or around a centre, which are swept by both the light radiated by the materials and by the sound they produce, for example, the cut leaves making up Maizal as a result of the weightlessness to which they are subjected.
The connotations are a temple or a forest clearing, places for seclusion and concentration, a concave centre that unifies the dispersed. Shaped from tumescent forms, strange appendices, folds and creases, the works of this period are concerned with structures halfway between proliferation and dissolution and which, like the hydra or the octopus and its tentacles and ramifications, stretch spatial limits, i.
The monochromatic surfaces, variations on white and cream and, in the latest works, crystalline red, that bring out the epidermic luminosity of bodies flooded with transparency, are stained with other colours, opening out onto incarnadine interiors or by means of excretions, such as fluids or intertwined filaments that contrast with the surrounding aerodynamic profiles.
Castrati I. Flashing Flash. Monkdogz Urban Art, Nueva York. Eurostars Regina, Sevilla; Art Madrid. Reus, Tarragona. The images therefore rise up in their sudden nakedness and suggest a note of truth in the simulacrum of the photographic structure — chromatic saturation, lack of focus, and shinings become transformed from imperfections to auratic principles of contained life.
There is no preparation for the photographic session, no pre- or post-production or staging, quite simply because there is no session: the creative process runs parallel to and is inseparable from life experience. This does not mean putting together a photo reportage in real time; photography becomes a need that comes over the artist at particular times and is the trigger for a process of intimate, primordial and unconscious desire that forces the creator to recognise herself and fix herself in space, time and memory, that converts everyday experience into transcendence by bringing to light these scraps by individualizing them and coordinating them El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales others, exposing them to public investigation.
Every self-portrait conceals the boiling desire to recognize, investigate and discover oneself that reflects the lack of understanding we feel towards ourselves, towards the numen that motivates our acts and decisions.
The impressions left are therefore not only an instant, but also take on the status of tools of permanent research. Trinity House, De Montfort University. Unity theatre. Sala de exposiciones de la Facultad de Bellas Artes, Sevilla. II Concurso Arte Joven. Sevilla; Paisajes. At first there were deformed faces, opposed in dialogue and isolation. Experiments were made with techniques and aspects of comics, German expressionism or surrealist illustration.
It was a question of testing media and the possibilities of expression. His work soon shifted from the individual to the surroundings, from appearance to identity or its dissolution in the big city. In the first phase there were views of great cities closed in on themselves, processes of concentration regardless of their origin or nature. Those urban landscapes gave rise to the methodological and El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales reflection that has led to the present phase of his painting, where the geometry derived from the study of the city becomes a rational system of approach and analysis of the processes of communication and relation of the constituent elements of inhabiting.
Detailed architectonic description is stained with dark omens and uncertain fears. The debts to expressionism and its theatricality can still be detected in series such as Estructuras, begun in ; but from here on, perhaps as a way of avoiding collapse, his work has become more logical and abstract. The fear is no longer something theatrical, but a constituent part of the space, another one of its dimensions and not exactly the least real.
In the new series fromLandscape t error, he has managed to define both formally and conceptually his own autonomous world and the series evolves towards rationality and synthesis, where some symbolic elements gain protagonism. The memory of clouds is the only reference to One Minute Warning - Passengers - Original Soundtracks 1, the rest are cogs and communication circuits, but the wiring is also the blood flow and its fragmentary representation a sign of human identity subjected to multiple, random variables and interruptions.
Sala B. Antiguas Escuelas de Balina. Santa Fe, Granada. Premios Alonso Cano Crucero del Hospital Real. Centro Cultural La General. Off the Road. Facultad de Bellas Artes, Granada. Borrego y A. Un dibujo sobrio, normalmente ausente de color, muy depurado. Un dibujo sutil pero funcional que describe objetos y muebles cotidianos, efectos en todo caso provisionales, ausencias, sombras. Borrego and A. They thus attempted to persuade us of the relevance of a discipline until then only visited instrumentally to approach the most pressing aesthetic problems.
More than a decade has passed, but that claim found its echo in the majority and preference for drawing became the call sign. Even the media recognised the trend. Convento de San Antonio, Granada. Obra reciente Chapelle des Penitents Blancs, Gordes, Francia. For this he took fragments of images concerning meals, celebrations or banquets in which he had taken part and brought El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales together in a sort of graphic diary summarizing the experiences he shared around those tables.
This project became his Huevo project, through the realization of the piece entitled huevos, a painting on canvas for which he used the same mixed technique as on the cardboard. By centring on a representation of eggs only, the Huevo project began with the creation of digital photomontages and a very cinematographic approach as the first step in eventually making the great sculptures whose end would be to occupy certain urban spaces and this underline the surrealist contrast between the figuration of these enormous fried eggs and the architectonic landscape in which they were placed.
Flytime Project is another project centring on the representation of flies using mixed techniques on Blood Pressure (EDX & Leventina Mix) - Various - Energy 2013 supports, such as canvas or even gallery walls, where these pieces are exhibited as atmospheres, and even on objects as different as tables, chairs El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales pitchers.
Museo Municipal. Sala Teatro Campoamor. Casa de Cultura. Junta de Comunidades de Castilla La Mancha. Museo de Santa Cruz. Sala La Salina. Alteridad No Arte. Alicante; Al Mualin. Sala la Salina. Galeria Gasset. El arte es hoy un medio sin fin, y sus misterios ya no ambicionan ser resueltos. En su obra podemos reconocer una forma de arte que rechaza su vieja tarea, la de revelador de lo absoluto.
Y, en este sentido, se puede interpretar casi como una forma de resistencia. Por decirlo de otro modo, esta pintura juega a ser compleja y a sumergir al espectador en una secuencia de incertidumbres encadenadas que son las que la dotan de sentido. De tal forma que sea la trampa y la imposibilidad de establecer un marco fijo de referencia la que singularice a la pintura.
In other words, the secret of art no longer consists in concealing a truth that is only revealed to those who manage to understand it, as Kant said.
Art today is a means without end and its mysteries no longer aspire to being resolved. To put it in other words, this painting plays at being complex and submerging the spectator in a sequence of linked incertitudes, which are what gives it, sense.
It is essential to distinguish here between sense and meaning, which are two familiar concepts but not in the least synonymous, because sense this is an example of it can be produced that negates all concretion of meaning, so that it is the trap and the impossibility of establishing a set frame of reference that makes painting unique. There is no doubt that this trap only occurs within the limits of the canvas, so that its territory continues to be that of representation, but that does not inhibit its character as a game of language, in this case pictorial language.
La casa del ser performance. Dos singular. Sala El Brocense. Caja Extremadura. Hojas de cuaderno. Posada del Potro. Motivos para volver a escribir. Sud express a… Casa Encendida. Madrid; Arte Santander. Colecciones Translacje. Paris; Atul Gupta. Portugal; Shanco Futura SL. Grupo Todisa.
In the works of Javier Flores the same conceptual constants are perceived, which we can divide into two chapters: first, the presence of a poetic substratum through a reflection on the problematics of the labyrinth; second, a philosophical substratum through a reflection on the problematics of language. These two characteristics are often mingled in the one work, giving it great conceptual wealth, for example, in his Ad Vitam environment and his performance La casa del ser.
Ad Vitam consists of two-metre high iron sheets joined in order to delimit corridors as in a labyrinthine structure. Through the placing of objects, images and projected shadows in an Maria Ja Marsialaiset - Pysy Hereillä of light and penumbra along the passageways, the labyrinth becomes a representation of the stages of life — childhood, maturity and old age.
Labyrinths can also be found in some sculptures of Las edades del hombre, used as glow-worms to remind us that, from the dawn of human culture, the light produced by olive oil was what enabled books to be written and read for many centuries. The walls, the ceiling and the door of this house were a fragile trellis of cut-out wooden letters, stuck together to form a lattice.
Once enclosed in this house, his intervention consisted in knocking it down. Then, picking up the letters from the floor one by one, he placed them on shelves arranged along the walls of the gallery to make three phrases illustrating the content of his action.
Mujeres en la Sombra. Pintura Neorrealista. Yo vuelo como. Art Sur les Quaist. Sala de Exposiciones Conquistadores, Badajoz; Cara a cara. Moving from the area of execution of painting to live performance recorded on video and photograph, we find her project Disfrazando el arte, created with the aim of bringing art closer to people in Andalusian towns.
Here we can locate her project Mujeres en la sombra, in which she paid tribute to nine outstanding women in various fields of knowledge and creation that have not been 32-20 Blues - John Hammond* - Country Blues well recognised.
Frida Kahlo. Serie Disfrazando el arte. Antes de Pacific State (Justin Strauss Mix) - Danny Krivit - Nite:Life 011 - Expansions. San Zoilo. Malpesa, Bruselas; Gritando a la luna. Castillo de Bil-Bil. Universidad de los Andes. Hospital de los Venerables, Sevilla; Colectiva. Ayuntamiento de Antequera; Sevilla; El nacimiento del buey.
Sevilla; Malpesa, Bruselas. Luego pasa todo esto al lienzo o a la madera, por lo general de gran formato. She considers herself a political artist and is thus committed to the world around her through her work. Her Ph. In her pictures, however, these interiors tend to be cold and hard, belonging to the houses of people who, while well-to-do, do not enjoy a pleasant life in the sense of homely warmth. In this way Cristina Galeote shows her discontent with a society that seeks only consumerism and fake wellbeing.
She has also travelled to the desert, where she found a truly unspoilt landscape. Another of her concerns is nature and its conservation. First she chooses the theme, meditates and reads up on the subject, makes a mental projection of the image and chooses the music. All of this is then transmitted to the usually large format canvas or wood.
Gravura, Taller de Grabado. Con Pilar Mahedero. Sala Cobalto. Colegio de Arquitectos. Casa Fuerte Bezmiliana. Taller de Grabado Gravura. Casa Grande. Huelva; C1: Unfolding Honey - Janek Schaefer - Double Exposure Casal Solleric. La Habana. Cuba; Reales Atarazanas de Sevilla. Nieves Galiot es una artista experta en desmontar las convenciones, ponerlas bocabajo, desvelando.
This is not the first time Nieves Galiot has been judged to be one of the most outstanding of all Andalusian artists.
This is because she is not subjected to the canon, although not refusing to articulate a gender discourse, but prefers to disagree and question both the language used and the precepts that sediment around her. This apparent contradiction is her trade mark, for her art is obviously feminist without ceasing to be feminine.
In other words, he work shows a drift characterized by the symptoms of the treatment of identity out of difference, but the absence of discursive militancy and acquiescence to analytical and critical commitment to ascribe to the singularity of the individual in the micropolitics of the body, in her condition as woman, are decisive for this attribution of valency. A feminine, but very singular feature that deconstructs the imagery of woman and provides the possibility for other approaches, without the need to reject some of the features that make up its historical and cultural legacy.
Originally trained as a printmaker, Galiot soon began to show other interests, including illustration, comics and advertising using techniques as diverse as collage, sculpture and installation. It is an oeuvre made practically to measure and designed with the excellence of one seeking companions in the enjoyment of experienced intimacy.
Nonetheless, it is usual for her to shun any specialized taxonomy and to concentrate on the production of meaning, even at the cost of the messenger. Her work is usually characterized by the El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales of the conventions of language as regards the experiences of the couple, revealing the twists of meaning, as too its ironic profile, and bringing into question the projection of the masculine view of the feminine universe and how the latter is reworked by the media despite the many-sided reality of woman.
Nieves Galiot is an expert at dismantling conventions, turning them upside down, revealing what is concealed behind them, particularly those related to woman and her dealings with the other sex. Iglesia de El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales Inmaculada. ARCO Madrid Itinerante ; Arte y Hotel. Sala EspaiZero. Madrid Itinerante ; 10 menos Instituto de la Juventud.
VI Premios Nacionales de Grabado. Madrid Itinerante ; Puerto Sur. Madrid; 20 de Sala de Exposiciones de la Comunidad de Madrid. Casa de Campo. Cuba; Ayuntamiento de Ayamonte. The main motifs of the series are established as the imposition of masculine roles or the economic transaction in payment for services underlying the obsequious treatment of favours. Another of the recurrent themes in her work is the world of feminine beauty that conceals a prosaic and ignoble, El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales painful and cruel reality, as well as the premonitory suspicion of tragedy contained in all instances of love.
She makes use of some of the symbols prophesying the Christian passion to bear witness to the piercing harshness of love. In earlier series her works commonly contained signs of representation materialized through embroidered images, a practice detached from the drudge of domestic craftsmanship linked to the servile labour of women and acquiring resonances of its own identity.
When the procedure is adorned with other registers — ironically postulating on the usurpation and inversion of gender roles — the end result takes on new meaning as well as being devastating.
This happens in the series titled Lady Shave. After it there is a return to the cameos and the loved ones, the sempiternal dragonflies, hearts and feathers — the last Frightened Eyes - Osmonds* - Phase III / The Proud One (Im Still Gonna Need You) the hysterical, frivolous reading of the feminine masquerade.
Now drawing and print contrive an oppressive tapestry of vegetation with embroidered images and texts with feathers, at the same time as the acerbic, oversweet vision of love is cast off and it is proved that romanticism is not only ridiculous but also male chauvinist.
And life, although not a vale of tears, is certainly a continual trap. Sevilla; Para beber directamente del chorro. Sala Maravillas. Sala de eStar. No me hallo. En Off. Neilson Gallery. Sevilla; Muestra Andaluza de arte joven. Salzburgo; Sala Imagen, Sevilla; Hacen lo que quieren. Pero estos puntos de apoyo no son actuales, sino El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales corresponden a la infancia o la juventud de mujeres que rondan hoy la cincuentena.
It is fertile, because such awareness is not merely negative or in opposition and, rather than just denouncing patriarchy, it seeks to create new, as yet unknown relations. Some of her works could be considered highly ironic presentations of the values the virile mentality demands of woman. They are vaguely reminiscent of altarpieces.
The drawing is not sharp, as if the artist wanted to evoke by them the elementary painting of the exvoto, fashioned by a hand as pious as it is inexpert. In other pieces, Gallardo seems to reflect on the symbols and objects with which our civilization expresses feminine universes. These works follow clearly in the wake of pop art — the references are the advertisement, the comic, the popular novel or the cutout doll and her dresses.
However, it is important to emphasize that these bases are not current, El Ciclo De Lo Absurdo - Sinergia - Alea Jacta Est / Daños Colaterales rather they are the elements expressing the different stages in the lives of women now aged around fifty.
For that reason they make up a meditation on the environment in which the younger generation grew up — what values or desires older women perceived as girls, how they received them and how they were able to refuse them, without failing to recognise them. These works are generally fragmentary — although inscribed on a single. Son recursos arriesgados que Gallardo emplea con acierto.
Irony is no longer the main agent here, as it is accompanied by tenderness. But that does not mean there is no criticism — a recent picture applied the cutout to the attire of a Madonna.
A third group of works investigates feminine sensibility in a more disturbing manner, for it does so through objects which, on first sight, seem close to fetishes. Handbags, jewels, lace, perfume, pieces of the borders of old tapestries or old wallpaper are the constitutive elements of works which, expressed superficially, with no visual depth, dwell on the detail and frequently include touches of enamel to underline the precision of the drawing and the ductility of the oils.
Irony disappears here and, rather than a criticism of consumerism, there is an unfolding of sensuality as intense as it is contained. For in these pictures the objects do not indicate an obsessive substitute for passion a fetish, in sumbut the silence imposed on its expression by the incomprehension of the male mentality. Gallardo is convinced of the value of painting but, as can be inferred from the foregoing, she uses it reflexively. She incorporates public language, not only that of the exvoto and those characteristic of pop art, but that of the commercial object.
Moreover, on occasions she provides it with formal resources such as the use of enamel or strips of reflective paper that seem taken from advertising or even kitsch objects. These are risky techniques, but the artist uses them accurately.
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