Vacaciones en el mar (Holiday at the sea), new project of Ruben Martin de Lucas

 

 

 

Martin de Lucas is an engineer who was immersed in the world of art and between  paint brush and spray with his crew collective Boa Mistura has built himself a more than promising career.

 

 

 

Last year, we met (in the contemporary art fair Art Madrid'15) his series "Floating Village", a colorful portrait of the fragility and resilience through a journey made by the artist to Southeast Asia. Just months ago Ruben Martin Lucas finished his project "Stupid Borders", a reflection on the physical and psychological limits (social barriers, territorial, religious, ideological ...) we "build" and that determine our relationship with the environment. Now presents "Holiday at sea", a pictorial analysis on migration flows that are repeated every summer to coastal areas of Spain.

 

 

 

 

 

 

 

Ruben photography urban exodus the cities suffer every year and the course of thousands individuals migrating for warmth, leisure and enjoyment as if they were a huge herd. A herd that is accounted and registered as is done with animals. Also registering their habitat, sun loungers, awnings ... and rituals, bathing, cane, it appears nap ...

 

 

 

 

 

 

"I'm interested in the phenomenon, demographic and sociological level, which arises as a result of the housing boom in the Mediterranean coast. It strikes me that a great mass population that lives all year in the city, move to spend your days relaxing and rest at another location also overcrowded. If one moves away and watches from a distance, the phenomenon is not unlike the migration of flamingos or sardines in which the individual seeks shelter group. With a kitsch touch. And I find fascinating this peculiar migration, both sociological or visually level, with a catalog of fun situations so amazing, "says the artist.

 

 

 

 

 

The photographic/pictorical series consists of 4 blocks: "Movements", "countings", "Masses" and "Situations" and the interest in studying the impact of man on the environment and the behavior of the individual himself turned into an indirect criticism of the reason for this phenomenon and its impact on the landscape and the generation of seasonal economies.

 

 

"Holiday at sea", from December 17 2015 to January 30, 2016 in BAT Alberto Cornejo Gallery.

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.