Arancha Osoro Gallery in Art Madrid15

The contemporary art gallery Arancha Osoro, opened in April 2012, occupies a privileged place in the center of the city of Oviedo. Opposite the Hotel Reconquista, the gallery is more than an exhibition place, a creative space with various artistic and cultural to bring art to the public with proposals that do actively stimulating the senses.

Bernardo Sanjurjo. Sin título.

 

Directed and founded by Arancha Osoro, her proposal is simple in this era of constant change, with new multimedia and new realities around us, "so it is necessary that art come to us in a more stimulating and actively way" says Osoro, and she sets out to discover new artists, get them to consecrate and promote new media, photography, video, without forgetting the traditional art.

Oliver Montesinos. Nena.

 

In Art Madrid'15, Arancha Osoro participates with a very fresh proposal which features work of Adolfo Manzano, Bernardo Sanjurjo, Marta Fermin, Oliver Montesinos, José Ferrero and two of our favorite artists this year and of which we briefly extended information: Iria do Castelo and Guillermo Ocio. For both of them, it will be one of his first exhibitions in Madrid. Welcome!

Iria do Castelo. Tetera que ríe.

 

Iria do Castelo (A Coruña, 1977). Specializing in sculpture, Stamping and contemporary prints, her work encompasses sculpture, illustration, printmaking and installation. It is a surrealist figurative powerfully evoking fairy books, magical bestiaries and aged prints from another time. Passionate about book-object, the iconography of Mark Twain, Lewis Carroll, Jules Verne, Henry Holiday, John Tenniel ... she walks with great influence of lowbrow art or pop surrealism among others.

 

Guillermo Ocio Forascepi. La escritura del agua.

 

Guillermo Ocio Forascepi (Oviedo (1963). Formed in the experimental Humberto's workshop and polished in various artistic disciplines, Guillermo Leisure always fed their constructive eagerness. The artist inner keys movement and language creates forms and colors, which leads him to use the essential circle and red as structural and compositional elements, or cobalt blue, as seabed, as a symbol of work that is gaining greater depth, is safer and perdurable, not as the foam of the days.

 

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.