PARTICIPATING CREATORS

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Sergio Sotomayor

Paula Anta

Imanol Marrodan

jose louis serzo

Jesus Zurita

Eduardo Chillida Belzunce

Eduardo Chillida Juantegui

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Sergio Sotomayor

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His work deals with the relationship between biology and technology, theories of the evolution of consciousness and cognitive processes, as well as advances in the exploration of the subatomic world, artificial intelligence and the expansion into new dimensions such as cyberspace or virtual reality. . 

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Paula Anta

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L'architecture des arbres is composed of a series of 4 photographs taken of different installations created in different spaces of the Cité International de Paris building. In this way, I establish, through them, a game with elements of nature and architectural structures, thus proposing a scenery where, in a subtle way, as if it were the line of a drawing, nature is introduced into the structure.

Through the figure of the tree, its irregular branches -formless and organic lines-, one penetrates into a cold and distant architecture. The tree is, likewise, manipulated, its shape is due to the whole that surrounds it, that invades. In this way, nature generates a conviction that contrasts with the solidity of the structure. A relationship between them is then established, silent, subtle, an almost painless incision.

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Imanol Marrodan

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Representation as the production and interpretation of "knowledge" of a reality that cannot pre-exist its representation.

After these last antecedents that have influenced, in recent times, so powerfully on contemporary art and more decisively on painting. It is intended to affirm that its discourse as a "representation system" is exhausted, relegating it to marginalization and oblivion; displacing it, for the sake of other interests and fashions, its creative function as well as its most relevant achievements in avant-garde thought and art.  _cc781905-5cde- 3194-bb3b-136bad5cf58d_

My proposal is the freedom to deny the representation itself, of painting; creating objects or images that hide their meaning.

In a "social community", apparently truthful, full of "meanings" where individuals are subject to structures that determine our way of life, a paradoxical effect occurs: we invented those same systems and now they have become independent structures that man can no longer change.

Claiming or trying to convert an object-painting into a codified “Irrepresentation” can be a way of resisting and protecting oneself from said pre-established modes of “communication-representation”.

Protect intuition and common sense to perceive again, in a slow, calm rhythm, to learn to see again.

Authentic painting must express the certainty of what is intuited and felt without knowing what it is and yet it is so real to us at that moment; like a small ray of light in the darkness of our cave.

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jose louis serzo

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ANDhe dream of the king (of the republic) tells the story of an anonymous king who for some time now has dreams that disturb him; in them he sees himself as a shepherd, as a free man in full communion with his cattle and with nature. This is how our protagonist realizes that he really dreams of being "another", an "other" much more faithful to himself, more authentic, true and free.  Our king dreams of owning his life and destiny; she dreams of freeing herself from heavy gold chains, which, although they may appear to be immensely beautiful, deprive her of her inner beauty.  The old king rejuvenates in his sleep, putting his sore body back together between the bleating of his rams. Although he continues to maintain command –since he guides his flock just as the king guides his subjects–, the human being that he discovers in his reverie moves driven by the tranquility of the immaterial, of the elemental... His roof is the satin and his bed the earth itself.

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Jesus Zurita

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The work of Jesús Zurita  hopes to have the viewer as a companion for a walk through environments and moments in which getting lost is as easy as it is logical. The views offered are subjected to the light of a cowardly, hidden, filtered and multiplied sun that erases our shadow on the road and disorients us, leaving us almost blind. We know that there is a sun because of its ardor, we know about the terrain because of the stumbling blocks and the attacks of what awaits us in blindness; we know about the landscape because of the fear of what we cannot control, absolute otherness that curves so that we return again and again. 

They are technically very simple works: ink and old brushes to present this walk without searching but full of encounters. The white that is the background of all these works is the solar plenitude of everything that surrounds us, partially revealing itself according to the steps we take. We will never pass through the same place twice, although we will always wander in the same environment. And we will always find fragments that will inevitably convulse into scenes.

These scenes lack history. His time is a continuous present as sharp as that of suffocation. We must adapt to them without impositions or prejudices; participate in its shadows and echoes to stumble, prick us and skin us with its twisted vegetation. Obligation and right of every witness, they are shown to us to observe them but above all to remember them. We skip the fact of understanding, of delimiting an accommodative perimeter that is useless. We tried  to apprehend in the purest way possible. I mean placing these scenes directly in our memory, home in which we really are. Where we can understand life and the one we attend to with each breath. Lugar  where the fact is experience before magnitude. Without judgment. Because in these scenes, in these environments traced by our erratic pace, we are witnesses of necessity and its bubbles. Despair blows over us all, twisting trees and burning us while we are still covered. And cruelty, suddenly, is justified in these moors... "there is no other choice" is carved into the rocks. What is vital for survival melts with hungerless bites in some dark corners. And smiles  a little rotten. The pleasures, still deformed into twisted pinches, remain as  the rhythm for our pulse.

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Eduardo Chillida Juantegui (1924-2002)

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He studied architecture at the University of Madrid from 1943 to 1946. In 1947 he abandoned architecture for art, and the following year he moved to Paris, where he set up his first studio and began working in plaster and clay. He never finished his degree and instead began taking private art classes. He lived in Paris from 1948 to 1950 and in Villaines-sous-Bois (Seine-et-Oise) from 1950 to 1955.

In 1950 Chillida married Pilar Belzunce and later returned to the San Sebastián area, first to the neighboring town of Hernani and in 1959 to the city of his birth, where he remained.

He died at his home near San Sebastián at the age of 78.

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Eduardo Chillida Belzunce

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"For me, sculpting is the same as painting, what gives the spark to one thing, gives the spark to the other"

Eduardo Chillida Belzunce CHB

 

This is how the artist thinks and how he expresses himself. But behind that sentence there is a lot to think about.

For Eduardo Chillida Belzunce, art is a means of communication with the world.   And through this path he finds different paths that converge in his purpose, to bear witness to his own universe to others.

Thus, when he encompasses painting, he portrays space, a space that is not usually an accurate reproduction of the reality before him, but rather an environment managed at will. Transformed sometimes, real or imaginary on other occasions. But a space that is invariably open leaks to the outside or to an interior beyond the place where we find ourselves.

That particular vision that CHB has of painting is full of  spatial, sculptural or architectural perceptions, where we continuously appreciate the three dimensions of space on the two-dimensional canvas.

The rooms invite us to enter, explore that world that shows us with its innumerable objects, walk the corridors, go through the doors and look out those windows with wonderful views of the sea.

Susana Alvarez San Martin

Police station

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