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EL OJO DEL MIRLO. CURATED BY IVAN DE LA TORRE AMERIGHI. april 15 - june 18, 2011
  • Pesce Khete. Sin Título

    Pesce Khete. Sin Título, 2009

    Mixed media on paper, 208 x 134 cm.

    Courtesy of the artist and the Galleries Magda Bellotti and Massimo Carasi.

  • Marcos Castro. Sin Título

    Marcos Castro. Sin Título, 2011

    Mixed media on paper, 200 x 140 cm.

    Courtesy of the artist and the Gallery Luis Adelantado.

  • Santiago Talavera. Dónde viví y para qué

    Santiago Talavera. Dónde viví y para qué, 2010

    Mixed media on panel, 151 x 188 cm.

    Courtesy of the artist.

  • Cristina Lama. Verde Carne

    Cristina Lama. Verde Carne, 2010

    Acrylic on canvas, 200 x 200 cm.

    Courtesy of the artist.

  • Pablo Valle. Pajaritos

    Pablo Valle. Pajaritos, 2009

    Oil on canvas, variable dimensions.

    Courtesy of the artist and the Gallery Rafael Pérez Hernando.

  • James Aldridge, Descensión

    James Aldridge, Descensión, 2009

    Acrylic on linen, 200 x 200 cm.

    Courtesy of the artist and the Gallery Casado-Santapau.

  • Manuel León, Primera negra tónica dominante

    Manuel León, Primera negra tónica dominante, 2010

    Mixed media on canvas, 130 x 195 cm.

    Courtesy of the artist.

  • Pablo Valle, El fututo ya está aquí

    Pablo Valle, El fututo ya está aquí, 2008

    Oil on canvas, 215 x 295 cm.

    Courtesy of the artist and the Gallery Rafaél Pérez Hernando.

  • Pesce Khete, Untitled

    Pesce Khete, Untitled, 2008

    Mixed media on canvas, 204 x 140 cm

    Courtesy of the artist and the Galleries Magda Bellotti and Massimo Carasi.

  • Cristina Lama, Verde

    Cristina Lama, Verde, 2010

    Oil on canvas, 50 x 50 cm

    Courtesy of the artist.

  • Cristina Lama, El primer puente

    Cristina Lama, El primer puente, 2010

    Oil on canvas, 50 x 50 cm

    Courtesy of the artist.

  • Cristina Lama, Caminito del rey

    Cristina Lama, Caminito del rey, 2010

    Oil on canvas, 50 x 50 cm

    Courtesy of the artist.

PRESS RELEASE

“El Ojo del Mirlo” raises a stylistic exercise where the dialogue takes priority, diverse but empathyc, with diferent ways for approaching, winning and fixing the reality through a means as agil and revived, in this moment, as it is painting. Taking as a base the famous poem “Trece maneras de mirar a un mirlo” of Wallace Stevens (1879-1955), a textual and visual experiment, that revolves around a trivial event, setting differents outlooks on the same figures about the same event, theres has been selected a group of young painters whose transit through the means is vigorous and gives off a very personal character.
In the works of these seven young artists gets a special importance the pleasure of painting, the conscious glance to the natural environment, the time of the event, and the removal or concealment of certain details of the position of the viewer, this creates the permanent illusion of the presence of a hidden threat. Free of space-time references –either by accumulation, or by disintegration, and obliged to read the pictorical field – field that we believe was discredited and obsolete. The observer does not known whether the excuse that triggers pictorial exegesis is temporary or essential, transcendent or dispensable. Never getting to know if that event has happened, is happening or about to happen right in front of our eyes. Proving, also, that the pictorial field anables a contextual view, aware, complainant, and at the same playful or symbolic but never seeking more than just itself.
If in the works of Pablo Valle (Barcelona, 1979), or the works of Santiago Talavera (Albacete, 1979) arises secular confrontations between nature and man, substantiated in a tangent look between the built and contrived and the uncreated and existing, both channel this dilemma differently: loose, naive and terrible in a first case, subtle and acid in the second one. That look is symbolic in other ocassions: poetic and vernacular, and for this global too, in the case of Cristina Lama (Seville, 1977) and in the case of Marcos Castro (Mexico D.F., 1981) though in a more latent and obvious violence. Containment, almost parsimony, of the means employed by Pesce Khete (Roma, 1980) the fluency and dynamism of treatment, stress the relation between the nature and the amazing acts of the improvised actors. Nature as a hieroglyph, as a metaphorical framework, as a primary origin and a stage of life and death, of metaphor and truth, but also as a space suitable for the deployment of painting techniques in all its glory. This is evident in the James Aldridge’s work (UK, 1971), knowledgeable in the channel and traffic of all pictorial tradition, also the Baroque, as in case with Manuel León (Sevilla,1977), who also is near the liminal territory of painting, dying it of urban art, acid, current, vital, experimental.


Iván de la Torre Amerighi







 

© 2011 Isabel Hurley