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06' Vilafranca Contemporania
Crisis? What Crisis?
Inauguracio 26-08-2006 fins el 14-10-2006
Artists: Florian Beckers, Nicanor Araoz, Cristina Calderon, Marta E=
spinach, Miquel Jorda, Maslen & Mehra, Ruth Moran,
Anna Olivella, Jaume Parera, Jose Luis Serzo, Gisela Rafols, =
Florence Vaisberg
Catalogue Available
Galeria Sicart
Carrer de la Font, 44 VILAFRANCA DEL PENEDES (Barcelona)
tel. +34 93 818 03 65 - +34 629 23 75 60 Fax +34 977 678 067
Email: galeriasicart@ctv.es
www.galeriasicart.com www.artfacts.net/galeriasicart
NICANOR ARAOZ, Ciudad Autonoma de Buenos Aires, 1981
A rabbit lies on top of an inflated beach ball. Hollow upon hollow. An ever=
lasting and painless eternity. I'm talking about pain. About pain that is n=
o longer felt. About my inability of verbalizing an ending. About an expans=
ive hole in the thorax that holds an eternal echo.
Taxidermied animals that stage vengeances and manoeuvres. They are on the =
edge / precipice of what is present /absent. Being that were. Animals that =
are without being.
They're oozing quietness in a sugar palace. There, vengeance, sadness and a=
nger are entwined and create a constellation that rocks on my bed. Outlines=
are, skin is outline, skin is edge, beginning and end. Entrails and fluids=
are absent, they're removed, and, with them, all sensations are taken away=
from the body. It's only a distant dream that we're trying to evocate. All=
kinds of caresses are only a distant nightmare. Greek tragedies, Walt Disn=
ey's fables, woods full of secrets, bazaars full of colours, sweets, heroes=
, victims and bandits. They are as kind as the silence of a cloud. As kind =
as the destruction of a whole meadow by a tornado, a loaded gun in the clos=
et, a dozen of watermelon sweets in the pocket, a tiny insect from whom we =
suspect a deadly bite.
FLORIAN BECKERS, Dusseldorf, Alemania. 1971
My work is about photographic images that emerge from the darkness and disa=
ppear partly into it again.
The "fragments of reality" that can be recognized in the images reflect hum=
an behaviours. The things which are just visible serve only to trigger off =
something that exists beyond reproduction but means the essential. The imag=
es can thus only disclose themselves to the observer himself. They must be =
completed by the power of his imagination.
CRISTINA CALDERON, Barcelona, 1972
Halito (Breath) belongs to a series of works around the idea of time.
"Halito" wants to overlap different layers of time as if time could be thou=
ght as it were an onion. A layer upon another layer shows two different ima=
ges: a still time, sedimented, a continuous and undying present (represent=
ed by the drawing) upon another one that continuously fades away, dilutes a=
nd repeats eternally (video). Stillness and movement.
The interior of a room inhabited by untidiness, use, disuse, expiry, the pr=
escription of objects, books, letters, that, when abandoned maybe are put o=
n tables and grounds. The stillness of the whole fades away when a breath i=
nvades the room. We can stop or move, but we'll never get away of our restr=
icted reality, which is limited by a specific space and time. The apparent =
freedom expressed through the papers flying off is self explanatory as they=
fly in circles: nothing is moving.
MARTA ESPINACH, Gelida, Barcelona, 1967
Photos of surreal passing through spaces. These scale model spaces are sho=
wn as strange and inhospitable with the help of light effects. They are ima=
ginary spaces where the interest is focused in a space that becomes a nowhe=
re, a maze conceived for not staying and to pass through. With this concept=
in mind, these interior spaces like theatres or dollhouses have plenty of =
doors, corridors and openings, with the anxiety of not knowing is beyond: A=
space we are forced to roam and pass through, without knowing where our st=
eps will lead us to.
MIQUEL JORDA, Valencia, 1963
Body & Soul. Reflection on the human being duality of body and soul. Based=
on the last century common practice of taking photographs of dead newborn =
babies in Mexican families, gives the artist the chance to create a perspec=
tive of the memory of their existences. Fetish portraits and painful icons =
which oblige us to think about the brief transition our lives are.
MASLEN & MEHRA, TIM MASLEN , 1968 Perth Australia. JENNIFER MEHRA, 1970 Lon=
don UK
The works of Maslen & Mehra juxtapose images of moving people in busy metro=
politan streets with vast spaces and landscapes. The contrast of these enli=
vened and heightened landscapes with the silhouettes of the figurative scul=
ptures highlights the disconnection to nature that occurs in busy urban cit=
ies. Closer scrutiny reveals the gestures of the urban inhabitants: Someone=
is seen talking on his mobile phone; another moves with his heavy backpack=
through the metropolitan jungle, an obvious inhabitant of an urban rather =
than a rural environment. "The compositions contribute to the debate of whe=
ther people are a part of or apart from nature." (Maslen & Mehra, 2005).
RUTH MORAN, Badajoz, 1976
Painting is born, as almost anything, from a pure inner need. So, it is a s=
ubstrate of life itself that is usually full of compressed feelings. The pi=
ctorial space is, for me, a piece of the mental space. And this space cover=
s many different spaces. My referrals, in my case, are often based in natur=
e; they penetrate and blend themselves in a magma of shapes and colors merg=
ing from the organic. Color, light, wefts, webs, roots: all of them are inn=
er landscapes. I go into shape and overall in the symbolic elements that su=
rround me. The eye has to keep its glance in this labyrinth and get lost in=
its road. The work that I do is dynamic and meditative. I work on my obses=
sions and I understand the artistic process as a catharsis. The work is bas=
ed on a dialogue with nature, evocations and a shared feeling of being one =
with the whole.
ANNA OLIVELLA, Vilafranca del Penedes, Barcelona 1969
Roads to nowhere, uninhabited landscapes that are often insinuated with poo=
r clarity. The negative of the same image projected in symmetry. Also indus=
trial indoors out of focus due to a layer of wax. White walls, large window=
s, empty spaces. Nothing changes, only the light that goes through the glas=
ses and reflects the shadow of the same windows. The movement of the light,=
displacing the shadows that move in the same direction. Geometrical shapes=
that fade away and that invites us to contemplation and reflection, and to=
enjoy the pleasure of observing.
JAUME PARERA, Barcelona, 1970
The videos made by Jaume Parera have been produced one after the other to =
give rise to a succession of episodes describing a process of destruction, =
degeneration and disintegration. They exemplify the demounting of the objec=
t, where it could be said that what is under attack is the artist's own ima=
ge or the mask that he chooses to show us. All of these short pieces in one=
way or another return to defeat. Strangely enough, however, their consiste=
ncy hinges on their recurring attacks and the obsessive destruction, as wel=
l as ridiculing and making an assault on what is called self-esteem. Carles=
Guerra
GISELA RAFOLS, Vilafranca del Penedes, 1984
I try to make a reflection on fleetingness of life and the role of people =
in it as ignored, strange beings that are just passing through, absurd bein=
gs.
JOSE LUIS SERZO, Albacete, 1977 Serzo, la quimica de la quimera. Se=
rzo is the most chimerical thing we have nowadays in our country, when maki=
ng reference to the district of Art. In his installations, in his canvas, i=
n his collateral tools, in his drawings and photographs, in his sketches, i=
n his video animations, in all this amazing cartography and atrezzo, everyt=
hing is possible. Anything, but the obvious, the tacky and the superficial.=
Man only builds, in his secret chamber, the scaffolding to jump beyond and=
far away. He designs his own dream. He stares the clouds. He shapes in a s=
heet of paper the arms of his hallucinogenic windmills or the wings of his =
gigantic butterflies. He puts a soft armchair on the top of a peak. He plan=
ts a road of almost fluorescent flowers -a road that winds, in the same way=
the path of beauty and purity of things does.
Serzo's work always sets off from a tale. It is, meaning it in the best s=
ense of the word, an eminently literary painting. His Blinky has something =
from Lindbergh -the first man to cross the Pond- and we suspect a lot more =
coming from Icharus -this mythological reference to the big Fall. The most =
important thing -the artist reminds us- is not in the journey, in our propu=
lsion in time and space, but in the elaboration of this personal dream, in =
the sequence of its most significant images. What really matters lies in th=
e auscultation of this moan -sometimes turned into music- of the spheres, t=
he first beat of the cosmos. When enjoying his total art, a couple of lines=
by Hart Crane come to my mind: "A man told the universe: / Lord, I exist!"
Serzo, a Renaissance creator that is also prone to Baroque and specially to=
Romanticism -Man in the edge of the world, Man looking down to the abyss. =
Some artists paint still-lives -still-lives touched by this dim light of th=
e still objects, almost varnished with dust.
In Serzo's paintings, time stands still, it freezes the gesture, but with t=
he difference that this painting -the whole art of the autor- is unceasingl=
y creating the illusion of movement. As it were born from that vortex of Po=
e's tale.
I often have the impression that his oil paintings were, originally, darkne=
ss quadrants. And nothing else. And that from his brushes, when they touch =
that darkness, they spread the light. In the same way some diseases fill ou=
r body with skin rashes, with mad blood that seems to be exploding under th=
e skin. Serzo's brush needles the light in a canvas made of darkness in a s=
tage curtain -such an appropriate word- that hides the great stage of shado=
w that human mind is. The show of the human comedy.
The genius that puts everything at his chimaera's disposal. The total archi=
tect, a great artist and an artisan expert in the most complicated arts. Se=
rzo knows that beauty -from which his work represents an exciting interpell=
ation- becomes an impossible obsession and yet vehicular of everything a ma=
n of genius projects and carries out. Jordi LLavina
FLORENCE VAISBERG, Buenos Aires, Argentina. (capital Federal), 1979
My work is the construction of what is being concealed: a generation that h=
as lost its voice, silenced and dulled by anguish. I capture this eternal =
instant before the awakening or the eternal lying. Sleeping lives, suicidal=
dreams, pending existences that through aesthetics get enhanced and endure.
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<TD class=tdactualtitolgr><FONT class=actualgr face=Arial
size=2><STRONG>06' Vilafranca Contemporania</STRONG></FONT></TD>
<TR><FONT face=Arial size=2><STRONG></STRONG></FONT>
<TR>
<TD class=tdactualtitolgr>
<DIV><FONT class=actualgr><H7><FONT size=2><FONT
face=Arial><STRONG><EM>Crisis? What Crisis?</EM></H7>
</STRONG></FONT></FONT></FONT></DIV>
<DIV><EM><FONT face=Arial size=2><STRONG></STRONG></FONT></EM>&nb=
sp;</DIV>
<DIV><FONT face=Arial><FONT size=2><STRONG>Inauguracio <FONT
class=datatext>26-08-2006</FONT> fins el
14-10-2006</STRONG></FONT></FONT></DIV></TD></TR></TBODY></TABLE></DI=
V>
<DIV><FONT face=Arial size=2><STRONG></STRONG></FONT> </DIV>
<DIV><FONT face=Arial><STRONG>Artists:</STRONG> Florian
Beckers<STRONG>, Nicanor Araoz,</STRONG> Cristina=
Calderon<STRONG>, Marta Espinach,</STRONG> Miquel=
Jorda<STRONG>, Maslen & Mehra,</STRONG> Ruth=
Moran<STRONG>, </STRONG></FONT></DIV>
<DIV><FONT face=Arial><STRONG>Anna Olivella,</STRONG> Jaume=
Parera<STRONG>, Jose Luis Serzo,</STRONG> Gisel=
a
Rafols<STRONG>, Florence Vaisberg</STRONG></FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial size=1><STRONG>Catalogue Available</STRONG></FONT=
></DIV>
<DIV><STRONG><FONT face=Arial size=1></FONT></STRONG> </DIV>
<DIV><FONT face=Arial size=2><STRONG>Galeria Sicart</STRONG></FONT></DI=
V>
<DIV><FONT face=Arial><FONT size=2><STRONG>Carrer de la Font, 44 VILAFR=
ANCA DEL
PENEDES (Barcelona)<BR>tel. +34 93 818 03 65 - +34 629 23 75 60 Fax=
+34
977 678 067<BR>Email: </STRONG></FONT><A
href="mailto:galeriasicart@ctv.es"><FONT color=#000000
size=2><STRONG>galeriasicart@ctv.es</STRONG></FONT></A><FONT size=2><ST=
RONG>
<BR></STRONG></FONT><A href="http://www.galeriasicart.com"><FONT color==
#000000
size=2><STRONG>www.galeriasicart.com</STRONG></FONT></A><FONT
size=2><STRONG> </STRONG></FONT><A
href="http://www.artfacts.net/galeriasicart"><FONT color=#000000
size=2><STRONG>www.artfacts.net/galeriasicart</STRONG></FONT></A></FONT><=
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<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-US
style="mso-ansi-language: EN-US"><FONT size=2><STRONG>NICANOR ARAOZ, Ci=
udad
Autonoma de Buenos Aires, 1981</STRONG> </FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-US
style="mso-ansi-language: EN-US"><FONT size=1>A rabbit lies on top of a=
n
inflated beach ball. Hollow upon hollow. An everlasting and painless eterni=
ty.
I
