PARTICIPATING CREATORS

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Fabiano Gonper

Ricardo Alcaide

Carlos Ciriza

Pablo Picasso

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Fabiano Gonper

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O Manipulador shows drawings on canvas of faceless executives (stereotyped symbols of power with their hierarchical "uniforms") whose facial features have been removed and which the artist collects from real media images Communication. They are works with a large number of figures made with black lines on a white background, which the artist veils with voile, a cloth that covers the entire work and softens the drawing. The intensity of these works lies in the coexistence  agolpada of the scales of the figures, their superimpositions and the relationships established between them. A multitude of inexpressive faces, different gesticulating bodies question us behind a veil, they appear to us as the same element, the same attitudes and the same non-verbal language of power.

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Ricardo Alcaide

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A Place to Hide/ A place to hide. The title that Ricardo Alcaide has chosen for his  exhibition at the Blanca Soto gallery in Madrid reveals how unconventional his view of architecture is.  And I say of architecture, because it is what all of the works  reunidas  in this  are ultimately about, although each one shows He does it in his own way and although the series that lends its title to all of them, has as a reference, as an argument, as a motive, what could be judged as the most radical possible denial of architecture: the ephemeral refuge of the homeless. Alcaide doubts, however, that this mutual exclusion is so radical and it is very remarkable that he is not completely alone in his doubt.  Before him -and at the dawn of modernity-_cc781905- 5cde-3194-bb3b-136bad5cf58d_ Father Laugier and the architect Gastón Ledoux led a debate of enormous importance for architectural culture, whose motive was precisely the cabin in the woods. The most elementary and primitive possible: the cabin imagined by Laugier as a simple roof supported by four rustic wooden posts with which - according to him -  men carried out for the first time the impulse that many Centuries later, he would raise to heaven temples and palaces of dazzling complexity and refinement. But the abbe, rather than trying to establish the origin of architecture in a powerful image, intended  to defend with the example of the cabin the unquestionable right of man to respond to the challenges of nature using only his understanding and ingenuity and counting only on the resources that - like the trees of the forest -  nature offered him spontaneously. Ledoux responded to this paradigmatic and at the same time naive vision of modern individualism, with a sour cartoon titled Shelter for the poor, in which a stunted tree, rooted in a stony islet and lost in the middle of an infinite ocean, is the only shelter for a naked and trembling individual, who raises his hands in supplication towards an assembly gathered among the clouds of Olympian gods and  muses of the arts, among which the muse of architecture stands out strongly. Man -comes to say Ledoux-  is hardly anything if he lacks the lights that the gods and wise men generously dispense.

Carlos Jiménez - Writer and art critic. Professor of Aesthetics at the European University of Madrid.    

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Carlos Ciriza

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His work has been published in different books and catalogues, as well as in numerous media from different countries. Carlos Ciriza is one of the Navarrese authors with the most international projection, his presence in the United States being frequent and periodic. Currently, he works on various commissions and monumental projects in this country and in Europe. His sculptural and pictorial creations can be found in numerous museums, parks, and public and private collections in 22 countries: Germany, Argentina, Armenia, Austria, Canada, Cuba, Chile , Ecuador, Scotland, Slovenia, Spain, the USA, the Philippines, Finland, France, Italy, Mexico, Portugal, the Principality of Andorra, Switzerland, Uruguay and Venezuela.

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