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An exhibition of art. Hans-Peter Feldmann.

9 / 12. Photo: Nacho Plaza

An art exhibition is apparently an anaphoric title for an exhibition of an artist in a Art Center. What else could it be?

The work shown in the Reina Sofía of Hans-Peter Feldmann ( Düsseldorf, 1941) are art, but the objects are not working: bicycles or plastic pots with geraniums. What we see, showcases contemporary objects in the style of the cabinets of wonders of the seventeenth century, postcards, photocopies, photographs unframed the collages with images of works of art reproduced in magazines, on the front of his oil paintings, installations in the air leaving the intrigue, the mystery - shadow play - the David of Miguel Angel polychrome plaster bright pink, with yellow pubes, evoking memories kitsch for tourists, are everyday objects, banal in its seriality, and the context in which they are displayed, question authority and cause the viewer to reflect on what is art.

Photo: Nacho Plaza

This contrasts with other recent exhibition at the Museum, exhaustive in the documentation that explains the work. Here are a few brackets, only works, neatly displayed, giving the viewer the freedom to extend or images meanings within. And thanks, much, the freedom that the artist gives us that screens our way what we are shown. In one room we are taught surrealist objects between evil and bad sculpture on the theme: bad art also have the right to exist .... but in a corner of the room, a piece of charred paper and some matches seem prepared to create a pyre iconoclast. Feldmann has the power to make the story was finished when the viewer fits the pieces to their own devices.

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But this should only talk about photographic image. And the reflection of Feldmann on the photographic image is a key contribution to the development of our understanding of contemporary photography. For the German artist, photography is an object with the ability to move the viewer to project their feelings through it. Desecrates the object. Belongs to the sacred which includes the image. His photographs eloquently of the distance imposed by the market, retouched, grand, and great nineteenth-century paintings. Work with polaroid and small sizes.

100 years. Photo: Nacho Plaza

His work on photography and time are an exercise in exploring this as though relative, serves to anchor man in the world and make it understandable. From the works of the sixties as Time Series where analog reel recorded a nondescript event to 100 Years, a long line of 100 black and white portraits that start with an 8-month and end in a 100 years old. It's a great reflection on the passing of time and how it is lived in relation to the photographic image from the subject himself, and the transformation of his body and the construction of identity.

A photo is a piece of paper, an object: if we look We produce feelings or moods. The picture of a dead person can make us feel sorry, and if a child's, tenderness, but not the picture that produces it, is our mind. Also this happens with all sorts of photos, good, bad, collective or private.

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Camila. Veronika

Last post seems that some fans worried. I hope this is dedicated to another photographer, with a younger and altermoderna work, does not cause confusion. Gallery Zero

course begins with a solo show, after two group exhibitions since it opened as a new space for art of Camila Marquez Veronika.

I follow this photographer from exposure Intimidades held in 2008 at the Iberoamerican Institute of Finland. And in these two years his work has gained depth and strength his speech.

In Camilla, Veronika threads images with a subtle narrative, and both women are interrogated in a serene gender discourse.

Time to light a cigar, sit facing each other, and counted their lives.

seems to start the conversation might look like the Paul Auster invented in Leviathan to Mary and Lillian.

photographer Mary Turner, the fictional but entirely real, Sophie Calle gave the writer Paul Auster is, in games that the artist created to alter the rules of chance, with Lilian Stern an old childhood friend who makes his living as a prostitute. The reunion Mary slides in a dangerous exchange of skins:

The Institute had been almost inseparable, two rare girls working together to grow through adolescence, they planned his escape from life in the small town. Mary had been a bit more serious, quiet intellectual, which had difficulty making friends, while Lillian was the girl with a bad reputation, and the wild that he slept with everyone, took drugs and played truant. Therefore, they were steadfast allies, and despite their differences, was much more that united them than separated them.

After reading Leviathan not know who the real woman, if Sophie Calle and Maria Turner. Looking

images do not know who the real woman, the photographer and the prostitute.

The order established in this series is a deeper game whose rules only know the author. Veronica is the face of the vera icon, more Veronica is the one that supports the canvas depicting another. So she, in an almost aseptic dream of rehab, faces the image of the other, it seems that delivered Camila slaughter. But the calmness with which coexist, the inscrutable sphinx, generates a wise ambiguity, no challenge, no struggle, there is no rebirth, only acceptance.

Eroticism and the ambiguity of the work of the Fontainebleau School the Louvre , it raises a disturbing echo beats in the pictures of Veronika Márquez .

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Márquez Isabel Muñoz. The love and ecstasy

On Thursday gave the official start to autumn exhibition and many were the exhibition opening, María Inés Platero in Barrenechea, the selection of the Injuve Círculo de Bellas Artes ... but I went to see the exhibition of Isabel Muñoz, love and ecstasy extended until the end of September, when they closed the Canal room for remodeling.

I went to see her and still do not know if I experienced emotional impact aesthetic enjoyment or looking at his work. I have mixed feelings with this exhibition.

installation work in a space so difficult, is impeccable and the best I've laid in that room, where most of the time the works are crumbling under the architecture. One of the curators of the exhibition is the architect Blanca Lleo and safe it is for this reason that the photographs have a duel cruel, but even, with the water tank.

Isabel Muñoz is one of the English photographers whose work will soon deserve a national award of the discipline, only awarded to three women: Cristina Garcia Rodero Barbara Allende Ouka Lelee-and Mary Bledsoe (Bledsoe and Pink).

The arrangement of the works in the eclectic brick tower, beautiful industrial architecture, (1907-1911) is an ascent to spirituality. On the ground floor, ceremonies of mystical ecstasy, are recognizable for being close to the English mystic, sober, powerful use of black and architectural treatment of the bodies as a mark of the artist.

The rise, while a projection dome tour is still a little unsettling to us, we must stop turning a blind eye. The drama of the images reaches its zenith. Isabel Muñoz has compared these images with the English baroque style carvings of Gregorio Fernández. In the videos, the facility makes us voyeurs , offenders forbidden space, look at what we are denied and the cruelty of the images makes our eyes can not sustain the dramatic tension.

If we continue to climb, we turned to cross another state of mind. We find the ceremony of the dervishes. The images invite us has again delayed its contemplation. There are words full of magic, and I drag the words d e r i v ch is g r i or v ag os, I discovered in the dazzling prose Lezama Lima in Opiano Licario , a long time - Navokov confesses in his memoirs that imagine some words vibrant colors. So, perhaps, to contemplate the sculptural photographs, immensely plastic forms, that enchantment I moved to images, and sat down in front of them pleasantly, remembering, enjoying quietly after the flight of the images that people will swallow knives and unnecessarily hurt.

And an exhibition that glorifies the language Baroque, it is worth quoting the Cuban poet who handles the overflow Caribbean baroque language:

is haunted, but happily, with an immense depth pleasant.

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Back

The timeless summers of childhood are far away paradise lost ... but begins a new course with juicy promises, this afternoon charged with the smell of wet earth.

mail after reviewing the brief but intense vacation, I found names that look photographic work education in painting.

Louvre. Angela Farias

A e-mail from Angela Farias -your project Lend me your eyes is an interesting reflection on how we perceive the world through the senses - I remember that August is the day of photography. On August 19, 1839 in the city of lights, Louis Daguerre announced a gift to the world after the acquisition of the patent by the French government. Angela

accompanies his congratulations with a beautiful photograph, LOUVRE selected in the contest The Julia Margaret Cameron Award and could be an image of a photo album of some sensitive accidental tourist. The work is a pieta down from its pedestal. Martin Parr loaded with irony his vision of the ravages of mass tourism in works like Tutta Roma, while Angela 's full of quiet love.

The shipwreck. Setting Allgäu

Another e-mail brings images of Setting Allgäu , with a very different character, although some of the paintings that looked part of the collection of the Louvre . The photographs are torn between the neoclassicism of Ingres and romance of Delacroix or Géricault .

The wreck sent immediately to The Raft of the Medusa . enhance the appeal of foreshortening of the figures gives great strength to the image. The static figures, frozen, are like cut sculptures in space. The space is important because it provides information about the characters while helping to isolate them, as if it were a theatrical performance. Setting

Allgäu confesses that he studied light, color and composition in the work of Singer Sargent . The teacher was able to isolate the figures in broad atmospheric air that special studying Velazquez, providing pictures of a special intensity. It is the echo of the painter's eye of these references gives a very interesting result of this picture.

The Daughters of Edward Darley Boit , one of the most admired works of Sargent, was invited last spring to travel and stay in the house of Las Meninas.

I want your accommodations, if they have not been able to overcome such a noble house, has been enviable as they have sido los míos, preparándonos para el reencuentro con el nuevo curso.