Plom Gallery in Art Madrid\'15

Now that the fair has just passed and this needed stage to do balance and analysis of achievements and mistakes of this 10th edition starts, from Art Madrid we remain with the fabulous sensation of having counted on an exceptional collaborator: La Plom Gallery. Thank to this gallery we could offer a kids' workshop to complete our parallel activities program.

 

This workshop obeys to the genuine idea and initiative of La Plom gallery, art gallery placed in Barcelona, and with hardly a year of trajectory, that shares with us this spirit that seeks to involve the children and make them take part of art world since the first beginning. La Plom has wanted to apply a new perspective to contemporary art ant to explore the communicative possibilities and the learning capability that kids have throughout activities, workshops and samples with which starting to stimulate their interest and pleasure for plastic disciplines. As its manager, Martha Zimmermann, points out in the presentation text of this space, it is about making profit out of "the power of art like an educational and an human development tool for children, that stimulates the creativity, the imagination, the effort culture and the self-confidence".

 

And for doing so, La Plom develops activities in which "real art" is made, because the proposed activities are addressed by active artists with pedagogical education, which allows them to approach the kids to the techniques they use in a dynamic and funny way to learn playing. Besides, La Plom highly believes in the education in art and the need of publishing the works and their creators in order to improve the interest in the sector and to encourage since the childhood the "little size" collectionism.

 

For Art Madrid, La Plom has organised the workshop "Drawing with machines", led by the artists Gonzalo Elvira, performative and multidisciplinary artist, and Rafa Castañer, illustrator, with the collaboration of the educators Anamusma and Kae Newcomb. During the workshop, the kids had the opportunity of knowing new creative techniques: drawing on a disk, the infinite drawing roll and the manufacture of projectable slides. The activity has place in the resting area of CentroCentro Cibeles the Saturday, 28th of February, and the Sunday, 1st of March, while the art fair was being developed, so the children could visit it after with their parents.

We would like to thank Martha and La Plom for her artistic project and for having brought this workshop that families have so much enjoyed.

 

 

“Everything that reduces art to a subjective, subconscious and spiritual discourse is a total adulation that discredits the art world”

Lino Lago looking forward inspiration in daily life to create a painting with a great conceptual load. In his most recent series entitled Fake Abstract, which he will exhibit at Art Madrid with the Moret Art Gallery, he plays with the characteristic elements of abstract painting: line and colour, where under a painting of flat colours they are guessed, through lines, famous classic portraits.

 

His work has been exhibited in renowned national and international spaces such as the Flint Institute of Michigan and the outstanding George Adams Gallery in New York and has participated in important fairs such as Arco, Art Miami or Art Fair “SH Contemporary 09″ from Shanghai.

 

Moret Art brings your production back to the Fair. How do you feel your work fits in Art Madrid?

Works of art today reflect the individualism of their authors; works of art are mobile, they travel and fit anywhere. Needless to say that this individualism is a generalized feature. There is another more academic art which is institutionalized art, less free. Art in Institutions and Government museums is the only one that has reliable regulated guidelines when it comes to “fit” in such places. In this case I normally refer to propaganda art. Art Fairs are generally perfect places to find free art (if that were possible, or made sense to some extent, or if we understand art as a social phenomenon based on liberty.)

 

In your work we can perceive the questioning of the glance as an abstract concept. How do you think contemporary art is viewed today?

There is a social stream that views art with some criticism and skepticism. I think this is healthy and it has a foundation that we do not want to analyze in depth. If we compared it to some other areas we would understand why. For example, in sports we can clearly see a more normal “justice.” He who is objectively faster or stronger wins. Talent in the sports world is something evident and because of that sports are disdained by the world of art. I believe anyone can reach their own conclusions. By all means Art is (in theory) an intellectual phenomenon, which does not mean that art turns intelligent anyone who approaches it, just as anyone who touches a soccer ball is not a Maradona. As an intellectual phenomenon it is impossible for art not to have lots of misguided argumentations, false judgments, sophistry, and hot air.

Your work has been recognized internationally on many occasions… Do you believe that artistic recognition is a dynamic facet?

More than dynamic. The results an artist needs are the sequel of the relationship between the artist and his work and society. This is something that is not learnt in any university.

 

As an artist, what do you feel committed to?

With liberty. This word has almost been shunned from the paraphernalia of today’s art. I am very critical with official art which is nothing but academe. In my work I introduce 19th-century academe as an ironic way of pointing out this problem: I believe that postmodern education and philosophy have been, and still are, a hoax that has diminished the intellectual capability of the humanities.

 

Criticism through irony over a great technical mastery is your hallmark. Although you have a diverse production… do you feel a unity in your work as a whole? Is that generated consciously or is it a natural artistic trait?

In my case I am aware of it. Besides, it is the process of hard work. To speak of naturalness, and above all to speak of unconsciousness is an aberration. Whatever reduces art to a subjective subconscious or spiritual discourse is an all-out sham that discredits the world of art.

 

Do you believe that artistic originality is getting to be difficult to find? Is it there where the value of your work rests?

I believe so. Although the difficulty here is to decide what to be original means. In times where the cultural predominance is in the hands of the passing anecdote, the emptiness, and the all goes… perhaps originality might be something else, right?

 

The gallery Moret Art will present the recent art works of the artists: Daniel Sueiras, Xurxo Gómez-Chao, Miguel Piñeiro, Pilar Diez