PARTICIPATING CREATORS

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jose louis serzo

PSJM

Oscar Seco

jose louis santalla

Hendrik Kerstens

nicola costantino

Florencia Rodríguez Giles

Amadeo Azar

Patrick Gil Flood

Augustine Nunez

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jose louis serzo

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Blinky Rotred has decided to achieve his dream, balance the elements of his reality and take advantage of the wind in favor to rise. Fly. Fly over the land and the wheat fields, touch the clouds and feel the cold of the heights while the sun shows its day illuminating everything. To rise like a simple kite, in a simple kite, an extension of itself. As they did in China, according to Marco Polo, to
augur naval voyages.
For this, he has the help of his close people, his wife Beatrice, who will hold Blinky's rope at all times so that he does not get lost in the
airs; his faithful friend, the architect G. del Olmo, who will solve the technical and aerodynamic problems of his flight; the designer Mateos will help him solve the flight suit, and even the Mole Man himself, his admired antagonist, will serve as a reference and example for how expensive it is to pursue a dream. All of them will trust your project and will be willing to help you.
The fantastic flight of the comet man" tells us about a simple and eternal adventure in the history of humanity: the dream of flying. Narrated through multiple disciplines: painting, photography, referential objects, sculpture, video, and presented as a mockumentary in an exhibition where reality and fiction go hand in hand to overwhelm us with a new legend.

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PSJM

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PSJM behaves like a mature commercial art brand that raises questions about the artwork and the market, communication with the consumer and works as an artistic quality. It does this by employing the communication devices used by spectacular capitalism as a means of highlighting the paradoxes generated by its chaotic growth. The exhibition includes the censored work Project Asia, which arose as a proposal for a public space, specifically the Plaza Mayor in Gijón, where it was installed and then removed due to pressure from the company Adidas. In line with his other work, PSJM focuses attention on the contemporary universe of brands as creators of symbolic values, abstract identities that shape the individual's own identity. The big multinational brands, true symbols of competitive democracy that were born in free countries, receive help in their farms, do not consider locating their factories in countries where unionized working conditions are unknown, or even prohibited under penalty of punishment, as a contradiction the messages they transmit to forge their brand values, which are always associated with the notion of individual freedom and these brands in light boxes under the same motto, MADE BY SLAVES FOR FREE PEOPLE, an ironic comment on the real values of these brands represent.

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Oscar Seco

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For more than a decade now  my work is part of a neo-pop and political-fiction aesthetic. This work materializes in the use of elements and resources from literature, cinema, poster design, advertising...

With these elements I have put together various thematic series on, for example, the chaotic relationship between man and nature or the series "Apocalypse and Alternative Worlds", a review of covert politics in cultural manifestations (B-series movies, posters, comic, advertising, etc.) during the Cold War in the fifties.

Starting from these premises, the project that I am currently developing focuses on the Spanish Civil War and its iconography, under a personal, iconoclastic, ironic and playful vision, at the same time documented and adhered to specific historical moments of our recent history.

A war where the Renau, Bardasano or Saez de Tejada cartels mix in an Alternative Spain, where fascists and republicans coexist with manga icons, Japanese monsters, superheroes and war iconography  taken from old photos of the contest.

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jose louis santalla

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José Luis Santalla is part of the generation that began in the eighties and that used photography as a varied and flexible instrument to discover its narrative possibilities. His series of photography are followed as the search for border possibilities; for example also those in which duplication creates space for fantasy since the introduction of the idea of a mirror (Diptichone???). Many of his photographs tend to believe symbols in which the objects receive other meanings and functions and provoke a discourse on stylistic separation that allows him a narrative breadth to tackle specific themes, tensions and contradictions. (Silent)

Fluctuating between the inert and the animated, his work becomes more impermeable (¿¿), especially since his recent series “Brave New World and Fugues”, together with a meditation on values and signs of today's society.

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Hendrik Kerstens

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When Hendrik Kerstens decided to dedicate himself completely to photography in 1995, he turned to a very close model, his daughter Paula. He wanted to document all of the most important moments in her life, to be with her to capture a small part of life's fleeting moments that fade too quickly. The inquisitive eye of the photographer plays a very important role in this process. Kerstens is fascinated with the fact that every human, no matter how familiar, is an "other," a mystery that will never be fully cleared up. The project became known as “Paula's paintings,” one of which received the PANL award.

But there is something else in the photos of Kerstens. Over and over again he uses his daughter as a model, making her immortal, as if to stop the passage of time and oblivion. Not only does he present her in relation to events in his own life, but he also projects his fascination with 17th-century Dutch painters onto her.

Kerstens: “One day Paula came back from riding. She took off her cap and I was struck by the image of her hair tucked under the hairnet. I remembered the portraits of the Dutch masters and I portrayed her that way. After this moment I began to make more portraits in which I refer to the paintings of this time. What fascinates me in particular is the way in which 17th century painting is seen as a surface that can be understood as a description of daily life, in contrast to Italian Renaissance paintings that usually tell a story. Northern European painting is much more dependent on technique and the perfect interpretation of the subject. The use of light is instrumental in this.”

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nicola costantino

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Nicola Costantino was born in Rosario, Argentina (1964), where he trained and took his first professional steps until he moved to Buenos Aires in 1994 to participate in the Fundación Antorchas' Barracas Workshop, coordinated by Pablo Suárez and Luis Fernando Benedit.
Since 1997, its presence in the international circuit is consolidated with its participation in different fairs and biennials. In 1998 he represented Argentina at the Sao Paulo Biennial and at the first Liverpool Biennial. A male nipple corset became part of the MOMA collection. Later he would show his work at the MNBA in Buenos Aires and in the project room of the Fundación Joan Miró in Barcelona.
The year 2004 is a year of inflection in his career: on the one hand, he culminates the series Animal, Motion Planet, which marks the end of his investigations with fur and animals; At the same time, he “launched” Savon de corps at MALBA, the first time he became the protagonist of his own work.
Two years later, his meeting with Gabriel Valansi, means his entry into the world of photography with two lines of work: references to significant works in the history of art and those in which he crosses elements of his imaginary or identity as an artist. The constant is the iconographic role of the author herself.

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Amadeo Azar

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Amadeo Azar's painting speaks of absences, his recurring themes are architectural spaces executed with a technique reminiscent of the illustrations in kitchen or office furniture catalogues. El  cine también  ocupa un lugar importante en el desarrollo de sus temas, utilizando  escenas de películas  emblematic as Pulp Fiction. In these spaces conspicuously, human beings have disappeared. By omission, their presence becomes more poignant, more palpable. As if only a few moments before, they had been sitting on the furniture or eating breakfast. It is the moment that the painter has chosen to "portray" them. Thus, the linear narrative is interrupted, leaving  in the viewer's hands to finish the story…or start it.

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Augustine Nunez

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Erratic fragments and disordered scores, Agustina Nuñez's drawings appear to us as the remains of luggage from a shipwrecked cruise ship in an ocean of the unconscious, floating adrift of repressed desires. Bodies, islands, stones, hair, writing an SOS in the volcanic sand of the frustration of an unfulfilled desire.

The subtlety of the line, the emptiness as a presence and the soft humidity of the watercolor submerge us in a terrifying float, to face a submerged world of childish impulses that we thought we had sunk centuries ago.

The artist seems to keep in her pencil the path to the treasure island, where, apparently, she did nothing more than untangle Chaos, separating the elements and placing each body in its proper place.

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