VIII edition Ilustratour Festival in Madrid

           

 

 

Over the past seven years, the International Festival of Illustration Ilustratour was held in Valladolid and in its eighth edition, it moves to Madrid to be enjoyed by illustration and drawing lovers.

 

 

 


Until the July 26 at Casa del Lector and other areas of Matadero Madrid, Ilustratour offers over 300 hours of activities with some of the best teachers, among them the great Dario Adanti, creator of Niño Dios and co-founder of Mongolia, and the great revelation of these years, Paula Bonet, with their liquid, fresh and melancholic women. With them, 28 other guest artists will be responsible for the master classes, workshops, debates and meetings have already become a real network in which there are more than 200 registered participants. A figure that ensures the healthy future of illustration in Spain.

 

 

 

 

 

The history of illustration, its novelties and new trends will be the subject of these seven days of festival and in addition, the program includes an humourous drawing workshop and live performances in Central del Diseño DIMAD.

 

In addition to the more professional side, Ilustratour has activities for all ages and public, exhibitions, theater, dance, book presentations and, outside Matadero, the program extends, for example, at the gallery is Mad Mad (c / Pelayo) with a small retrospective of Juan Varela, a Spanish illustrator specialized in nature and that turns 40 years dedicated to this work. It began in the mid-seventies with the Encyclopedia of Félix Rodríguez de la Fuente and has signed his drawings in dozens of books. The sample Mad Mad is going a step further, showing his new artwork, with one foot in the abstract.

 

 

 

Ilustratour includes for the first time, a market of books, fanzines, magazines, original works, all kinds of merchandising and related items illustration.

 


 

 

 

 

Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.