Art Madrid'24 – V Art Biennale of ONCE Foundation

The Biennale of ONCE Foundation was created in 2006 as response to the need of people with disabilities to access to the culture in a standardized way, to eliminate prejudices on artistic creation and to give effect to the professionalization of people with disabilities in the world of Art. In this sense, the Biennale pursues two major goals of ONCE Foundation: accessibility (accessible culture for all the people, working from different policy areas, universal accessibility...) and inclusion (access for disable artists to the circuit of the Art market, achieving social inclusion and employment). 
 
In 2014, the fifth edition of the Biennal, on view at Cibeles CentroCentro from May 21 to September 15, thematically revolves around human diversity and body "valuing difference as a quality of being and disability as a potential, including being one of the key objectives", according to the organization of ONCE Foundation.

According to the director of Universal Accessibility of ONCE Foundation, Jesús Hernández, "the Foundation seeks to convey the concerns of the institution through the Art Biennials. In this regard, in previous editions it has addressed the issue of language and landscape to discuss accessibility and, in the current issue, we talk about human diversity to claim that we are all different but all have the same rights. "

Serie HUMANAE, de Angélica Dass

The 5th Contemporary Art Biennal of ONCE Foundation presents, with a careful selection made by the curators Miguel Cereceda and Giulietta Speranza), the work of 39 artists, with and without disabilities, that show their interpretation of the world and their personal way to communicate.

De Natura Deorum, de Carlos Aires
The exhibition, included in Photoespaña 2014, includes works by José María Cano and his son Daniel Cano (who suffers from Asperger syndrome), Luis Perez-Minguez (prestigious photographer with physical disabilities and part of the 80´s madrilian "movida"), Cristina García Rodero (Spanish photographer first woman in the international photo agency Magnum), Victor Meliveo (photographer and video artist visually impaired) and other names as Angel Baltasar, Javier Campano, José Manuel Egea, Carlos Franco, Miriam Jiménez, Ramón Losa, Eduardo Matute (DUDU), Paloma Navares, Carme Ollé i Coderch, Ricardo Dew, Ricardo Rojas, Ángel Rojo, Rafael Sanz Lobato, Cuco Suarez, Vicens Talens, John Tower, Kurt Weston, Marina Abramovic, Carlos Aires Miquel Barcelo, Daniel Canogar, Pedro Castrortega Angelica Dass, Esther Ferrer, Daniel Firman, Jorge Fuembuena, Germán Gómez, Kaarina Kaikkonen, Leiro Francisco, Isabel Muñoz, Jaume Plensa, Bernardi Roig, Serrano and Marina Belen Vargas.
Equipo de MÁSCARAS, dentro del Ciclo de Cine de la V Bienal Fundación ONCE.
The Biennal proposes a diverse accesible program of activities, workshops, round tables, performing arts (dance, theater) and film series. This year also, the Biennal features works by artists like Jaume Plensa, provided by the MACBA (Museum of Contemporary Art of Barcelona); Marina Abramovic, provided by Telefónica Collection; Miquel Barceló or Juan Muñoz, from the Helga de Alvear Collection.

 

Francesca Poza. Courtesy of the artist.

ARTE & PALABRA. CONVERSATIONS WITH CARLOS DEL AMOR

Thread is one of the most seemingly fragile materials in existence, yet a combination of threads can be indestructible. It is the triumph of fragility over brute force.

Among its many virtues, thread has its meaning, both real and imagined. It is a word that oozes poetry and makes us think of following a trail, sometimes infinite. Francesca Poza (Mataró, 1965) adds the written word to the many virtues of thread, giving her works a firmness that is always delicate but almost impossible to break. She weaves between letters and memory, pieces that seek to establish what has been lived, to leave a trace in a world that is increasingly ephemeral, more fleeting, more liquid, more elusive. In his work, poetry, literature and time intertwine in a harmonious way, resulting in creations of beautiful originality that are as subtle as they are powerful.

Perhaps Francesca has managed to give an answer to what Carmen Laforet wondered in "Nada", when she said: Who can understand the thousand threads that unite the souls of men and the reach of their words?

The poet reborn. Fabric made with book paper. 2023.

If you had to define yourself as an artist, in one sentence, how would you define yourself?

I could define myself as a multidisciplinary artist who poetizes matter.

The thread even predates the advent of writing, perhaps it's not exact, but I like to think that it began to "write" by spinning... Then came the written word, and in this encounter full of history and ancestors is your work. Spun words, sounds good, doesn't it?

Spun words sound good, the subtlety of the thread that organizes time, the connection, the continuity, the rhythm of literature without reading, because it is a very recurrent phrase in my work, that as the weft is made and unmade, the work and the poetry reappear.

As if they were chains. Fabric made with book paper. 2023.

Why does everyone say that you are unclassifiable? Don't you think we live for labels? It's nice to be difficult to classify. Do you feel like a "freak"?

No, I don't feel like a freak. I like the fact that I am unclassifiable. It's difficult to define me as a sculptor, an engraver, or a weaver. I try to make poetry with the material I have, to make the fragile speak to us, to transport us; the paper as matter and the thread as symbol, to penetrate us.

When one stops in front of your work one has two sensations, well three, one of tranquility, the other two are paradoxical because the first impression is one of fragility, however, after a while you realize that these "threads" are strong because they are united and have made common cause. It's a bit like so many things in life, isn't it?

Yes, that's really what I'm looking for, to express peace and tranquility above all. We are going through very difficult times and I like to express the good that people have inside us.

Testament of Oscar Wilde. Fabric made with book paper. 2023.

Memory is an intimate territory that sometimes betrays us, and forgetting is its main enemy. Is your work against forgetting?

Yes, the art of remembering and forgetting is a recurring theme in my work, because I had and still have the idea that we have to be something, that something has to remain in our memory. So I try to create a poetics that is embodied in different aspects of creativity. You could say that this essence of a series of needs, of leaving a permanent record, is because we don't want to be forgotten, and this is a way I have of expressing myself.

Your work is very poetic... What do you think is impossible to poeticise?

There is nothing impossible, nothing that cannot be poeticised. And yes, my work is poetic, why weave, what for? Poetry and weaving travel in the imagination and come together. Visual art, manual art, in short: poetry.

Music of broken windows.Hahnemühle paper 300gr. 2023.

The thread leaves a trace, the words leave a trace... Your work leaves a trace. Where do you want it to go?

Words leave traces and I want my work to leave traces: the feelings and sensations of the viewer. That the work of art is not just for decoration, but something that when you wake up in the morning, you look at it and you feel different again, that it leaves you with something to feel.

Where do you think your work is going?

My work itself, I don't know where it's going, it leads the way, it guides me day after day. I would like to be able to continue weaving poems that travel in the imagination, to enter and leave through the multiple paths that the material and the feelings take me.