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FORMA CONTENIDA april 30 - june 25, 2021
  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Antonio R. Montesinos. Take Care of the Collection. Detail

    Antonio R. Montesinos. Take Care of the Collection. Detail, 2019

    Installative piece composed of 18 elements in different sizes

    Concrete, blue plastic mesh, gardening material and automatic irrigation system

    Variable dimensions

  • Antonio R. Montesinos. Take Care of the Collection. Detail

    Antonio R. Montesinos. Take Care of the Collection. Detail, 2019

    Installative piece composed of 18 elements in different sizes

    Concrete, blue plastic mesh, gardening material and automatic irrigation system

    Variable dimensions

  • Antonio R. Montesinos. Take Care of the Collection. Detail

    Antonio R. Montesinos. Take Care of the Collection. Detail, 2019

    Installative piece composed of 18 elements in different sizes

    Concrete, blue plastic mesh, gardening material and automatic irrigation system

    Variable dimensions

  • Antonio R. Montesinos. Take Care of the Collection. Detail

    Antonio R. Montesinos. Take Care of the Collection. Detail, 2019

    Installative pieze composed of 18 elements in different sizes

    Concrete, blue plastic mesh, gardening material and automatic irrigation system

    Variable dimensions

  • Antonio R. Montesinos. Take Care of the Collection. Detail

    Antonio R. Montesinos. Take Care of the Collection. Detail, 2019

    Installative piece composed of 18 elements in different sizes

    Concrete, blue plastic mesh, gardening material and automatic irrigation system

    Variable dimensions

  • Exhibition view

    Exhibition view,

  • Antonio R. Montesinos. Miles de kilómetros de cemento blanco

    Antonio R. Montesinos. Miles de kilómetros de cemento blanco, 2019

    MDF, plaster, lime and iron supports

    31 x 30 x 7 cm each

    Variable dimensions

  • Antonio R. Montesinos. Miles de kilómetros de cemento blanco

    Antonio R. Montesinos. Miles de kilómetros de cemento blanco, 2019

    MDF, plaster, lime and iron supports

    31 x 30 x 7 cm each

    Variable dimensions

  • Antonio R. Montesinos. Miles de kilómetros de cemento blanco. Detail

    Antonio R. Montesinos. Miles de kilómetros de cemento blanco. Detail, 2019

    MDF, plaster, lime and iron supports

    31 x 30 x 7 cm each

    Variable dimensions

  • Antonio R. Montesinos. Miles de kilómetros de cemento blanco. Detail

    Antonio R. Montesinos. Miles de kilómetros de cemento blanco. Detail, 2019

    MDF, plaster, lime and iron supports

    31 x 30 x 7 cm each

    Variable dimensions

  • Antonio R. Montesinos. Miles de kilómetros de cemento blanco. Detail

    Antonio R. Montesinos. Miles de kilómetros de cemento blanco. Detail, 2019

    MDF, plaster, lime and iron supports

    31 x 30 x 7 cm each

    Variable dimensions

  • Antonio R. Montesinos. Miles de kilómetros de cemento blanco. Detail

    Antonio R. Montesinos. Miles de kilómetros de cemento blanco. Detail, 2019

    MDF, plaster, lime and iron supports

    31 x 30 x 7 cm each

    Variable dimensions

  • Mercedes Pimiento. Poros técnicos. Exhibition view

    Mercedes Pimiento. Poros técnicos. Exhibition view, 2020

    Concrete, fibreglass and copper

  • Mercedes Pimiento. Resonador#2

    Mercedes Pimiento. Resonador#2, 2020

    Concrete, fibreglass and copper

  • Mercedes Pimiento. Membrana #3 y #4

    Mercedes Pimiento. Membrana #3 y #4, 2020

    Concrete and fiberglass

    100 x 86 cm

    51 x 52 cm

  • Mercedes Pimiento. Membrana #3 y #4. Detail

    Mercedes Pimiento. Membrana #3 y #4. Detail, 2020

    Concrete and fibreglass

    100 x 86 cm / 51 x 52 cm / 27 cm x 25 ø

    Fhoto Claudia Ihrek

  • Mercedes Pimiento. Membrana #3 y #4. Detail. Resonador #3

    Mercedes Pimiento. Membrana #3 y #4. Detail. Resonador #3, 2020

    Concrete and fibreglass / Concrete and copper

    100 x 86 cm / 51 x 52 cm / 27cm x 25 cm ø

    Fhoto Claudia Ihrek

  • Exhibition view

    Exhibition view,

  • Mercedes Pimiento. Resonador #1

    Mercedes Pimiento. Resonador #1, 2020

    Concrete and copper

    90 cm x 1´5 cm ø / 15 cm x 13 cm ø

  • Mercedes Pimiento. Resonador #1. Detail

    Mercedes Pimiento. Resonador #1. Detail, 2020

    Concrete and copper

    90 cm x 1´5 cm ø / 15 cm x 13 cm ø

  • Leonor Serrano Rivas. Made their Bends Adornings. Figure 31

    Leonor Serrano Rivas. Made their Bends Adornings. Figure 31, 2016

    Copper, wood and canvas

    120 x 63 x 16 cm

  • Leonor Serrano Rivas. Made their Bends Adornings. Figure 31. Detail

    Leonor Serrano Rivas. Made their Bends Adornings. Figure 31. Detail, 2016

    Copper, wood and canvas

    120 x 63 x 16 cm

  • Leonor Serrano Rivas. Made their Bends Adornings. Figure 31

    Leonor Serrano Rivas. Made their Bends Adornings. Figure 31, 2016

    Copper, wood and canvas

    120 x 63 x 16 cm

  • Exhibition view

    Exhibition view,

  • Mercedes Pimiento. S/T

    Mercedes Pimiento. S/T, 2020

    Latex conduit and metal

    180 cm x 1´5 cm ø

  • Mercedes Pimiento. S/T. Detail

    Mercedes Pimiento. S/T. Detail, 2020

    Latex conduit and metal

    180 cm x 1´5 cm ø

  • Exhibition view

    Exhibition view,

  • Exhibition view. Christian García Bello

    Exhibition view. Christian García Bello,

  • Christian García Bello. Seteira

    Christian García Bello. Seteira, 2018

    Beeswax patinated plaster

    11 x 43 x 5 cm

  • Christian García Bello. Ornamento y presagio (Arquitrabe)

    Christian García Bello. Ornamento y presagio (Arquitrabe), 2018

    Beeswax patinated plaster

    11 x 43 x 5 cm

  • Christian García Bello. Ornamento y presagio (Arquitrabe)

    Christian García Bello. Ornamento y presagio (Arquitrabe), 2018

    Beeswax patinated plaster

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Alvaro Albaladejo. Ozymandias

    Alvaro Albaladejo. Ozymandias, 2018

    Blued iron and thermochromic paint

    31 x 134 x 31 cm

  • Alvaro Albaladejo. Ozymandias. Detail

    Alvaro Albaladejo. Ozymandias. Detail, 2018

    Blued iron and thermochromic paint

    31 x 134 x 31 cm

  • Exhibition view

    Exhibition view,

  • David Bestué. Exhibition view

    David Bestué. Exhibition view,

  • David Bestué. Red 1 / Red 2. . Exhibition view

    David Bestué. Red 1 / Red 2. . Exhibition view, 2019

    Red 1. Net, stone frieze and balauster, modernist stained-glass fragments, glass tulips and metal hook

    Red 2. Net, ceramic balauster, plaster and stone decorative elements, wooden footings and metal hook

    100 x 60 x 40 cm each

  • David Bestué. Red 1 / Red 2. Detail

    David Bestué. Red 1 / Red 2. Detail, 2019

    Red 1. Net, stone frieze and balauster, modernist stained-glass fragments, glass tulips and metal hook

    Red 2. Net, ceramic balauster, plaster and stone decorative elements, wooden footings and metal hook

    100 x 60 x 40 cm each

  • David Bestué. Red 1 / Red 2. Detail

    David Bestué. Red 1 / Red 2. Detail, 2019

     

    Red 1. Net, stone frieze and balauster, modernist stained-glass fragments, glass tulips and metal hook

    Red 2. Net, ceramic balauster, plaster and stone decorative elements, wooden footings and metal hook

    100 x 60 x 40 cm each

  • David Bestué. Coup de fouet y muelle

    David Bestué. Coup de fouet y muelle, 2015

    Iron spring welded to iron bar

    70 x 74 x 30 cm

  • David Bestué. Coup de fouet y muelle. Detail

    David Bestué. Coup de fouet y muelle. Detail, 2015

    Iron spring welded to iron bar

    70 x 74 x 30 cm

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Leonor Serrano Rivas. Without Equivalent Proportions (nº5)

    Leonor Serrano Rivas. Without Equivalent Proportions (nº5), 2019

    Metal, boning and wood

    120 x 72 x 7 cm

  • Leonor Serrano Rivas. Without Equivalent Proportions (nº5). Detail

    Leonor Serrano Rivas. Without Equivalent Proportions (nº5). Detail, 2019

    Metal, boning and wood

    120 x 72 x 7 cm

  • Alvaro Albaladejo. Gris tormenta

    Alvaro Albaladejo. Gris tormenta, 2020

    Polyurethane resin, iron and thorns of Austrocylindropuntia subulata ("Eva pins")

    70 x 90 x 30 cm

  • Alvaro Albaladejo. Gris tormenta. Detail

    Alvaro Albaladejo. Gris tormenta. Detail, 2020

    Polyurethane resin, iron and thorns of Austrocylindropuntia subulata ("Eva pins")

    70 x 90 x 30 cm

  • Alvaro Albaladejo. Gris tormenta. Detail

    Alvaro Albaladejo. Gris tormenta. Detail, 2020

    Polyurethane resin, iron and thorns of Austrocylindropuntia subulata ("Eva pins")

    70 x 90 x 30 cm

  • Alvaro Albaladejo. Gris tormenta

    Alvaro Albaladejo. Gris tormenta, 2020

    Polyurethane resin, iron and thorns of Austrocylindropuntia subulata ("Eva Pins")

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Leonor Serrano Rivas. Made their Bends Adornings. Figure 88

    Leonor Serrano Rivas. Made their Bends Adornings. Figure 88, 2016

    Copper, wood and canvas

    120 x 63 x 16 cm

  • Leonor Serrano Rivas. Made their Bends Adornings. Figure 88. Detail

    Leonor Serrano Rivas. Made their Bends Adornings. Figure 88. Detail, 2016

    Copper, wood and canvas

    120 x 63 x 16 cm

  • Christian García Bello. Ornamento y presagio (Encuentro)

    Christian García Bello. Ornamento y presagio (Encuentro), 2018

    Patinated concrete with whale spermaceti, patinated plaster with beeswax, leather and cord

    61 x 16 x 12

  • Christian García Bello. Ornamento y presagio (Encuentro). Rear view

    Christian García Bello. Ornamento y presagio (Encuentro). Rear view, 2018

    Patinated concrete with whale spermaceti, patinated plaster with beeswax, leather and cord

    61 x 16 x 12

  • Alvaro Albaladejo. Canalones

    Alvaro Albaladejo. Canalones, 2021

    Plaster with potassium permanganate

    11 x 28 x 9 cm each

    Variable dimensions

  • Alvaro Albaladejo. Canalones. Detail

    Alvaro Albaladejo. Canalones. Detail, 2021

    Plaster with potassium permanganate

    11 x 28 x 9 cm each

    Variable dimensions

  • Alvaro Albaladejo. Canalones. Detail

    Alvaro Albaladejo. Canalones. Detail,

    Plaster with potassium permanganate

    11 x 28 x 9 cm each

    Variable dimensions

PRESS RELEASE

 

Forma contenida (contained form) brings together a selection of works by six artists born between the

late seventies and the early nineties, who, through their approach to sculpture, tackle issues of relevance to architec-

ture. In their work, however, architecture is conceived more as a cultural practice than as the art of projecting and

erecting buildings per se. In other words, in this exhibition architecture is understood as a mesh of modes of doing

and saying, a set of technologies and discourses partaining to a specific culture which generate a series of paradigms

or historically specific categories. Throughout the show we are reminded of the constant suspicion with which sculptu-

re views architecture. It is not by chance that all of the artists participating in this project came of age at the time of 

the post 2008 economic crisis. The so called "Great Recession" established a new context of precariousness 

amongst the middle classes which is echoed by this generation of artists throughout the notions they have developed

relating to space and inhabiting it. The broad range of critical strategies set in motion by these artists in relation to

architecture includes: a critique of specific urban models, a questioning of the relationship between body and archi-

tecture, and the recuperation of vernacular forms, as well as the invention of new spacialities. For these artists the

scale of  sculpture is that of the body, face and hand, while the emphasis is on the relationship between sight and 

touch. This is why in their work architecture appears always as a fragment, a sign, or a ruin, subject to a number of 

temporal breaks, such as fiction, assembly, process, ornamentation and performativity. All of these sunvert the idea

of a Euclidean space determined by continuous and homogeneous time, which, still today, defines the ways in which

we think and inhabit the space.

 

David Bestué presents three sculptures which establish a tension between art nouveau and industrial elements. His goal is to question playfully the identity of Barcelona, a city turned into a brand on the basis of a class fantasy. Barcelona’s definition as a city defined by Catalan modernism only exists in the imaginations of a still-affluent bourgeoisie and of a globalised tourism market. In Coup de fouet y muelle (whip and spring) (2015) David Bestué establishes a relationship and a contrast between, on the one hand, a so-called coup de fouet —which in French means “whiplash”—, a modernist motive, which, through a dynamic open curve, expresses the exuberant vitality and strength of growing plants, and on the other hand a common spring, an object which embodies exactly the opposite of the modernist plant-whip, a technical mechanical force driven by a principle of return to self. The coup de fouet and the spring oppose each other in terms of form, but also in terms of technique, as nothing is more opposed to the organic fire-fuelled torsion of the forge than the anonymous curves of industrial production. Between both ways of thinking of form and force one finds a missing link of sorts in the figure of Antoni Gaudí, in whose works both worlds merge coherently, yet paradoxically. In this piece David Bestué reveals, both critically and comically, the hidden tension between both realms. Something similar occurred in Red 1 (net 1) and Red 2 (net 2), both of which were included in the Miramar (2019) in Pols, and which draw on fragments of art nouveau, both literally and metaphorically. The nets bring together these ruins —remnants of friezes, balusters, windows and lamp-shades, among other things— as if they were rescued from a wreckage, while by extension raising the idea of a sort of sieve of material history. By turning the net into a container, Bestué also proposes a notion of sculpture in permanent metamorphosis —as the net’s volume is different every time it is assembled.

Antonio R. Montesinos explores through his work the manners in which we have interacted historically with space and territory. Two of his projects can be seen in this exhibition. In Miles de kilómetros de cemento blanco (thousands of kilometers of white cement) (2019) the houses of the white villages of the Costa del Sol and other parts of Andalusia are his subject matter. As in Barcelona, in the South of Spain tourism has also transformed the way people live —white-washed walls, arches, lattices— into clichés; which is why in this project the author has drawn up a catalogue of construction items. This collection reveals the manner in which the identity generated by architecture over centuries may find itself reduced to a set of interchangeable signs. However, as the artist’s subsequent investigation shows, both fantasies, that of origin and that of the touristic brand, inhabit a world of timeless identities, where mishmash and metamorphosis are absent, and in which there is no room for the murky and muddled processes of appropriation and modification by the popular classes that makes up history. Take Care of the Collection (2019), the second project included in Forma contenida (contained form), is a product of Montesinos’ artist residency at the Andalusian Centre for Contemporary Creation, C3A, in Córdoba. It is composed of a set of concrete sculptures-flowerpots based on the diagram of hexagonal cells which organises structurally the museum itself, and which originates in a distribution of space based on criteria relating to security and control. The flowerpots contain different breeds of plants and are interconnected by a drip irrigation system which keeps the soil damp throughout the exhibit. It is through the simple yet effective gesture of introducing plants into an institution, that the ideas of security and control are subverted. This occurs by means of an anarchical letting-things-be, as well as by the care that is taken of beings of differing nature, and between natural beings and artificial elements.

Mercedes Pimiento´s works featured in this exhibition are also the result of her residency at C3A. Po-

ros técnicos (technical pores) (2020), the project presented in the gallery takes as its starting point the museum´s 

infraestructure. The building designed by studio Nieto Sobejano Arquitectos contains a number of hollow gaps which

sorround the rooms of which it is composed. This system results in a porous, yet acoustically sealed, structure. The 

specific installation created by Mercedes Pimiento in the museum was made up of two parts: a modular system of 

tubes, which made the museum´s structure visible, and a series of membranes and resonators to be activated by vi-

sitors. While the copper tubes spread across the museum´s concrete walls, piercing the so called "technical pores"

and creating the impression of a parasite structure penetrating the insides of the building, the cement and fibreglass 

membranes partially hide the walls and allow sound waves to spread more easily. On the other hand, the resonators,

which are also made of cement and copper, are a number of hollow ovoid -shaped objects interacting with the tube

structure as well as with the building. They are designed to absorb a specific frecuency within the human voice´s 

spectrum, which they subsecuently release as heat. The piece is all about inventing new forms of interaction be-

tween architecture and the body through sculpture, as well as thinking about how buildings may stop being neutral

and may start to affect visitors and be affected by them.

 

Christian García Bello  directs his gaze to the vernacular architecture of Galicia and certain materials that are part of 

its geography. His work lies half-way between archeology and poetic fiction, his goal being to show us how a rooted

way of life in inseparable from the forms and materials that sorround and constitute it. Inhis pursuit he sheds light on

our historical relationship with architecture and landscape, both of which make up the territory. In Seteira (2019), the 

artist takes as his starting point the primitive saetera (arrowlist) of the Galician hórreos (traditional Galician granaries)

-a satera is a narrow window-opening whose main function is ventilation, although its etymological origin relates to

an opening allowing saetas (arrows)  to be shot. García Bello grants volume to the opening by unfolding it, and dis-

plays it horizontally as if it were a lying body. This work highlights circulating air and contact between the inside and 

the outside, between the landscape snd humans. Two more works, Ornamento y Presagio (Arquitrabe) (ornament 

and omen (architrave)) and Ornamento y presdagio (Encuentro) (ornament and omen (meeting)), created in 2018 

and 2021, take the ornament as a starting point for their approach to that concept of architecture. The ornamental is

not understood here as a specific realm of objects or functional category (decoration), but rather, as a modus operan-

di or force, a way in which to think the relationship between spectator and work. The ornamental impregnates space

with rhythm, in other words with time, and, by organasing space, builds a meaning that is clear to the body and sen-

ses. The Ornamento y presagio series conceive sculpture as an assemblage based on fragments and vestiges, 

which, although they may appear to be archelogical findings or remains, arenin fact fake fossils, inventions based on 

the poetics inherent to the materials.

 

Alvaro Albaladejo´s work also revolves around the capacity of the ornamental to "animate itself" and act upon the 

spectator. In his case, however, the ornament´s goal is to destabilise perception by means of unorthodox relationship

between difference and repetition. The ornament operates as an hallucinatory technology which throws the eye 

againt its limits, provoking, not only oddness, but also experiences close to vertigo and disorientation. This centrality 

of the physical dimension of vision states that there is no such a thing as a neutral position from which to approach 

what is visual, and, furthermore, that the undisturbed dimension of everyday distant observation is itself historically

conditioned. For Albaladejo, ornaments operate in general as devices hwhose purpose is to attack the eye. Orna-

ments pertaining to architecture, or standing in its periphery, such as obeliks, cornices, undersides of balconies, or

gargoyles, whose shape or location threatens or disturbs our gaze, stand out as ornamental motifs. Three works de-

veloped over the last three years are displayed in Forma contenida (contained form). Ozymandias (2018) is an obe-

lisk made of blue iron which lies horizontally, and whose thermochromic enamel surface makes it change colour de-

pending on ambient temperature. Gris tormenta (gray storm) (2020) finds its inspiration in the motifs of balcony un-

dersides. It consits of a horizontal structure from which an inverted cactus hangs, the spines of which are scattered

across the surface threatening to fall into the spectator´s  eye. For the present exhibition the artist has crafted a new

sculpture made of two gargoyles, Canalones, a term which is to be understood here, not as a grotesque figure, but

as the end piece of a pipe jutting out from the wall. The gargoyles are made of plaster and potassium permanganate, 

a chemical formula whose high degree of instability make its surface and colour change throughout the exhibition.

 

Leonor Serrano Rivas´s artwork usually takes as its point of departure a historical element such as an

idea, a book or an object. From it, the artist develops a process of interpretation based on both research and free in-

terpretation. Her ned goal is to unlearn in order to discover and open up spaces for resistance. The logic of dreams

plays a key rol in this process, resulting in the accumulation of layers and strata that make up Serrano Rivas´ work,

the exhibitory space and the spectator being amongst these. The artworks included in Forma contenida (contained

form) belong to a cycle called Between the Nose and the Mouth developed between 2016 and 2019 as an examina-

tion of the relationship between architecture and body through the idea of "ornament". The cycle is made up of a site-

specific performance bearing the same name, a number of sets of sculptures, and an installation. Forma contenida

(contained form) brings together components of two of the sculptural series which constituted Between the Nose and 

the Mouth, namely, Made their Bends Adornings and Without Equivalent Proportions. At the core of the Between the 

Nose and the Mouth cycle lie two treatises in which architecture is conceived as a rhetorical force capable of commu-

nicating a number of aesthetic and moral values. Leonor Serrano Rivas´ investigation shows us how these ideas, 

grounded in beauty and character, cross effortlessly from pholosophical treatises to everyday life, and in so doing

end up expressing themselves in the submission that architectural forms impose on our bodies. The performance

translated architectural codes into gestures and sounds within a given space, London´s Chisenhale Studios, while the

sculptures queried, in a manner that could also be called performative, the relationships of power which underly no-

tions of beauty, proportion, or harmony, and organise the spaces of everyday life.

 

Javier Sánchez Martínez

Palma de Mallorca, abril de 2021


 

 

 

 

 

 

 

 

 

 

 

 







 

© 2011 Isabel Hurley