Hyperrealistic sculpture in Bilabo

 

 

 

The BBK Hall of Bilbao Fine Arts Museum is designed, right now, for generate many questions. The first: Is it reality? The second: How is that possible?... and up to 34 as the 34 works shown in the exhibition "Hyperrealistic Sculpture 1973-2016" which brings together the 26 main authors of the hyperrealist movement worldwide.

 

 

 

 

The selection of works - carried out by the curator Otto Letze with pieces from international collections through the mediation of the Institute for Cultural Exchange in Tubingen (Germany) - ranges from American pioneers as George Segal, Duane Hanson and John DeAndrea, to the international dissemination movement with the Spanish Juan Muñoz, Maurizio Cattelan, Ron Mueck, Sam Jinks and Patricia Piccinini or Canadian Evan Penny. It is also presented for the first time, the play "Lisa" by John DeAndrea. This is the first exhibition in Spain that shows the depth review of human figuration along the more than fifty years of existence of hyperrealism.

 

 

 

 

Modeling, cast, paint, resins, clays, waxes, fabrics, artificial hair, these materials allow hyperrealist artists an approach to the human body in a vivid and faithful manner but from different approaches, always trying to show something of the inner life of the figure.

 

 

 

The exhibition is segmented into different sections: "human Replicas", "Monochrome Sculptures", "Body Parts", "The game of dimensions" and "distorted Realities". With them, occurs a diversification of meanings and issues around the body from the body as mirror of the soul, to issues of identity and normality, the revision of social classes, movement and bodies in space, voyeurism, surrealism dreamlike, fragility and relativity of life.

 

 


 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.