Desplazamiento new project of Maider Lopez in MARCO Museum of Vigo




Almost no one notices the walls of the museums, its height, size ... and this is the reason why the artist Maider Lopez has shifted them, as she did in October 2015 in Koldo Michelena Kulturunea, creating a new layout with new little walls of about 50 cm high that displace the plant about 217cm. With "Desplazamiento", Maider reinvents the building foundation and, therefore, how to move in it.





This intervention in the space of the Museum of Contemporary Art, MARCO of Vigo, is completed with two audiovisual works designed for space and with a retrospective of the Basque artist who revises her work in recent years, in which everyday actions and common realities are questioned . "The urban space and natural landscape are dislocated through strategies that alter habits and relationships, creating new spaces or situations, new rules of the game, inviting us to rethink our environment," says the press release of MARCO.





For the artist, "Shift means to move or pull someone or something in a place" but the displacement is a resource to create situations of estrangement and to generate a new mental place to confront our preconceived ideas.





As the text "Revealing the connections of reality" of the writer Fulya Erdemci says Maider López lets us experience with the state of things by subtle changes, small changes and movements in order: "Through details of life everyday, the spaces around us or trivial and ordinary relationships between people, we can understand the structure and order of things and we become aware of its fragility, understanding that could easily be otherwise. "



"Desplazamiento" will be in the MARCO of Vigo until 18 September 2016.


The CEART opens this Thursday, November 14th in the room A an exhibition dedicated to this master of photography, which will be open to the public until February 9th. The show includes one of the artist's latest projects, focused on the hard work carried out by the miners of Serra Pelada, an open gold mine in the heart of Brazil where employees daily risked their lives.

Immigration, poverty, marginal life, slave labour, man's relationship with the land, the use of natural resources... are issues that have always fascinated Salgado. From the beginning of his career as a photographer, his work has opted to give visibility to the most disadvantaged groups and to create with his images a vivid and impressive visual story without fakes. With a raw black and white, this author's work transits between photo-reportage and naturalistic photography.

And the idea that permeates all his work is human dignity. Salgado portrays employees, miners and gatherers from a purely humanistic approach that wants to value their integrity, their strength and their resilience.

“If you photograph a human, so that he is not represented in a noble way, there is no reason to take the picture. That is my way of seeing things.”

Salgado entered this discipline long after completing his studies in economics between Brazil and the United States, and a doctorate in statistics in France. But in 1973 his life took a turn, and he decided to start his career as a photographer. He achieved to work at the Gamma Agency and Magnum Photos for more than 15 years until in 1994 he founded his own agency “Amazonas Imagen”.

With the “Gold” project, the photographer portrays a harsh reality that takes place in the Serra Pelada mine, a name given to a totally devastated and anarchically excavated mining enclave, the world's largest open-pit gold mine, through which more than 50,000 people have passed. In the heat of the legends about the mysterious “El Dorado”, the enthusiasm for this precious metal led to the development of strenuous exploitation practices for the workers and to originate tales of grief and glory, of human victory and defeat between the soil, the tunnels and the cargo baskets.

The CEART exhibition brings together Salgado's full portfolio in his characteristical black and white and large-format photographs that leave no one indifferent.