Art Lounge Gallery from Lisbon in Art Madrid15

Lego Splash. Pimax.

 

Art Lounge saw the light in 2005. Result of the personal experience of its founder, Ricardo Tenreiro da Cruz, who wanted to melt through the gallery his particular vision of the world in which they are joined two perspectives, on one hand, his knowledge and professional trajectory in Economics and Market analysis and, on the other hand, his passion for Art, especially powered after a studies stage in London.

 

Behance. João Noutel.

 

From then, the activity of the gallery is identified with a clear line of actuation: bringing to Portugal renowned international artists with upwards prices, both due to an almost natural effect derived from the globalization as the will of getting over the national frontiers and helping to a bigger knowledge of movement and reality of art abroad.

 

With this goal, Ricardo Tenreiro has recently changed the place of exhibitions and he counts today with a space of almost 500m2 and high quality facilities, thinking of attract a selective and rigorous art sector. He has represented Portugal, giving notice of the good health of the neighbour country's sector, in all the fairs he has attended to (Mexico, Dubai, India, etc.).

Art Lounge takes land in Art Madrid'15 with an eclectic and enriching proposal by five artists: Uiso Alemany, João Noutel, Pimax, Florian Raiss y Carmen Calvo. Thus, we count with sculpture works, paintings, and mixed pieces that diversify the offer of the gallery.

 

Love Hurt. Pimax.

 

We can highlight Pimax , creator known by his performances. With a previous experience that sink its roots among the electronic music, the social non-conformism, the protest actions, and the graffiti universe, Pimax allows to see his critical attitude, harsh and scathing sometimes, in many of his works. In his last creations the artist tries to think about the pass of time and the power of the frozen instant, shown through resins and materials of great plasticity.

 
 

Por encima del error. Carmen Calvo.

On the opposite side, although without lack of critical sense, is Carmen Calvo . This Valencian artist feeds also from pop-art influences, above all in her beginnings, and she has been progressively developing her own style in which the use of photographies as basis structure and the application of collage produce surprising and stimulating results to the viewer.

 

 

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.