AURORA VIGIL-ESCALERA, 35 YEARS IN THE WORLD OF ART

The Asturian gallery owner Aurora Vigil-Escalera is celebrating 35 years of professional career. Aurora came into contact with art when she was 17 years old, helping her mother in an apartment on Ezcurdia Street in Gijón. There, Aurora lived great artistics talks and saw an endless number of authors who today are part of the list of artists in her gallery. In 1984, Angelines Pérez, Aurora's mother, opened the Van Dyck Gallery with her father Alberto Vigil-Escalera.

In 2015, the Van Dyck gallery closed its doors and a new cycle began for Aurora, who opened the gallery that bears her name in Gijón that same year. Today, Aurora Vigil celebrates 5 years of the gallery with the firm conviction that vocation, dedication and enjoyment are the keys to success as a gallery owner. Following these parameters, Aurora Vigil presents in Art Madrid a careful selection of art works by eight multidisciplinary artists with different approaches and lines of discourse, all of them with established artistic careers.

David Morago

Cacatúa, 2016

Acrylic on wood

100 x 100cm

The artist David Morago(Madrid, 1975) will exhibit his well-known paintings with botanical and animalistic representations, images that are already part of the artist's particular universe and iconography. As if it were a Natural History cabinet, Morago provokes with his portraits of animals and plants, an effect on the viewer that takes him directly to the artist's cabinet of curiosities and wonders.

From the purest figurativism, we move to the dream universe of Rafa Macarrón (Madrid, 1981),an unconditional artist of the gallery with a personal style and a unique language, represents in his works brightly coloured figures with hydrocephalus and filiform limbs, as well as unusual and unique characters that claim all the prominence of the work.

The three-dimensional plane will be represented at the Aurora Vigil stand by the works of the artists Herminio (La Caridad, Asturias, 1945) and Pablo Armesto (Schaffhausen, Switzerland, 1979), the latter more focused on his work towards an experimental space where sculpture and painting coexist with the immaterial character of light and shadow, together with technology and science. Herminio, whose work has accompanied Aurora in all the editions of Art Madrid, captures in his light and ethereal sculptural pieces his most important concerns as an artist: balance, perpetual movement and electromagnetism.

Pablo Armesto

Eclipse menguante, 2019

DMF lacado y aluminio, fibra óptica y LED

120 x 120cm

Herminio

R26, 2017

Técnica mixta y campos magnéticos

52 x 30cm

Colour and matter in their purest expression are condensed in the works of Juan Genovés and Ismael Lagares. The Valencian artist Juan Genovés investigates with the static movement of painting, where the crowd becomes the reference to talk about the problem of painting and visual rhythm. On his part, Ismael Lagares with a colourful invoice and a vibrant and fast brushstroke, distorts reality playing with textures and volumes.

Gorka García (Cádiz,1982) is one of the youngest artists and with more projection of the gallery. In his paintings, uninhabited landscapes and ruin dominate, these two elements being the main germ of his compositions. The poetics of ruin and the deep analysis of composition and forms in his works define the artist's discourse.

Juan Genovés

Arpegio, 2019

Obra gráfica muy intervenida a mano por el artista. Ed de 10

74 x 60cm

In addition to Gorka García's uninhabited landscapes, the Asturian artist Dionisio González will be presenting for the first time at the Fair a selection of his "imagined architectures ", photographic montages where the artist inhabits his own abandoned urban landscapes, in ruins or devastated by natural disasters.

Dionisio González

Buraco Quente 2, 2019

Impresión digital en papel de algodón sobre dibond y enmarcado en madera lacada en blanco

125 x 260cm

Dionisio González

Dauphin X, 2019

Photography

180 x 300cm

We interviewed the "artist architect of desires " to tell us about the main ideas and concepts he puts forward in the pieces he will be exhibiting in Art Madrid, and how in his works he is able to manipulate reality to improve it:

The gallery Aurora Vigil-Escalera presents your work in Art Madrid for the first time, how do you think your artwork will fit in at the fair?

Aurora has been in the art world for 35 years. Her professionalism and the quality of her program are undeniable. Being a gallery on the outskirts of a sparsely populated city in Gijón, the ex-centrism makes her work even more complex. When these qualities, both human and professional, are present, it is easy to fit in the artistic work and I hope that this will be the case during the duration of Art Madrid, where we will present "Dauphin Island" and "Cartografías para a RemoÇao".

In your art works you reflect on concepts such as construction and destruction, ruin and habitability, what elements define your "dystopian" ruins?

"Dauphin Island" maneuvers over an island, in the state of Alabama, that has suffered numerous natural disasters and for which I have proposed architectural projects "bunkerized" that configure new habitable structures of resistance for those spaces previously devastated by hurricanes like "Katrina". The work on Brazil's favelas is related to the desire not only to intervene but to interfere in an extreme problem, either as a designer or as a social regulator. That is, to establish a social role in defense of these settlements by proposing not their eradication but their sanitation, which is nothing more than intervention based on the already existing "cartography". The favela shows us how urban architecture can be an issue that is resolved through a popular logic.

They talk about you as the "healer of cities artist", have they proposed you to bring some of your projects to life?

I have had many offers in this sense, because the constructive approaches, which appear in my visual work, have both a critical or theoretical approach and a urban and architectural planning behind. That is to say; they can be built or consolidated in the empire. But, I would only consider executing them if they are proposed for spaces that denounce and the ideology that has articulated them that, almost always, operate from the vulnerability or social problematic.

 

One of the proposals included in the calendar of the “Art Madrid-Proyector'20” program was the organisation of several meetings with artists within the fair. This gave visitors the opportunity to get to know their work better and open a personal dialogue with them after the presentation of their last lines of work. From Wednesday 26th to Saturday 29th of February, we had the participation of Abelardo Gil-Fournier, Fernando Baena, Mario Santamaría and Maia Navas, a group of creators who work with the moving image, but also with the installation, technological art, performance and video art.

Abelardo Gil-Fournier's work revolves around the hybridization between the real and the sensible. This artist and researcher approaches this question in his works from a perspective in which perception, image and material production merge. Both his artistic and research practice deal with issues related to land use and plant growth without losing sight of these three points of interest. This results in works that incorporate the presence of nature from various perspectives, sometimes as a space of experimentation in which to reflect on the connection between art and politics, the relationship of the human being with the environment or the criteria for landscape intervention.

During his presentation on Wednesday 26th, Abelardo told us about some of his latest projects, in which the presence of technology is key to offering an artistic interpretation of the individual's impact into the territory. All this affects issues such as agricultural techniques, the progressive deforestation or the exploitation of land resources. The result is colour-coded pattern drawings that break down the analyzed landscape and offer a more visual and technology-based reinterpretation of these human behaviours. In addition, in this meeting, the artist explained his work “The Quivering of the Reed”, an installation that mixes video image, sound and material elements, and that plays the role of mixing the sensory with the real.

Abelardo Gil-Fournier

Fernando Baena shared a talk with us on the afternoon of Thursday 27th. This artist has focused a large part of his work on performance, happening and video pieces, many of them designed to capture the result of the action and give the work a second life in a new format. The main subjects that monopolize his work range from the treatment of sexuality and gender issues, to migratory movements and the drama of refugees, the exercise of political freedom and thought ... all of them are far-reaching issues that Fernando addresses from a familiar approach, with the use of common materials and recognizable environments. Another of the characteristics of his work is the presence of Marianela León in many of his pieces, a performer who has been collaborating with Fernando for many years until becoming almost an alter ego of himself and starring in most actions that take place in public spaces.

In this meeting, Fernando was able to explain part of his creative processes and to highlight a key aspect to the performance artist: to understand the reaction of the public. In this way, the impact of a work conceived from the theoretical plane is also analyzed, the meaning of which can completely change depending on the viewer's perception. As he himself explained in the talk regarding his piece "Balsa":

"What started out as a performance with an established script ended up being a happening in which the public participated with sometimes unusual reactions".

For his part, Mario Santamaría, who was with us on February 28th, shared with us a completely different work from Fernando's. This artist is focused on the analysis of the use of data, the feeling of manipulation and lack of control over our information that is produced in the digital medium and the desire to transform into something real some ideas as ethereal and commonplace today as the use of virtual storage clouds, the location of web pages or the data flow over the Internet. Much of his work, documented on video or transformed into technological facilities, is a form of research on the impact of the digital medium on our daily lives. His desire to bring these terms to the material plane, which we handle in our language today without really understanding their meaning, has led him to visit server bunkers, storage warehouses, in addition to tracking the exact location of the servers that host his own website to find isolated places far away from humanity.

Mario proposed a material trip to this reality to demonstrate that we are facing a very fragile system, whose durability is sensitive to natural phenomena, as evidenced by some of the documentation work carried out, where he rescued images of wild animals entering these data centres and endangering the livelihood of the digital world.

Mario Santamaría

Finally, Maia Navas, recently arrived from Argentina, shared with us the afternoon of Saturday 29th in a chat in which she told us about her creative work as well as her experience at the head of Play-Videoarte, a festival entirely dedicated to this discipline that she co-founded in 2012, and that in these six editions has combined an annual exhibition with a program of activities that take place in the City of Corrientes (Argentina), at the Cultural Centre of the University Extension that depends on the National University of the Northeast (UNNE).

Maia has a degree in psychology, as well as a degree in arts and technology, and combine her artistic career with teaching. The impact of psychology among her work topics is evident, and some of her video works try to delve into disturbing and perplexing aspects of human behaviour, such as the series "Procedures" that we could watch during the presentation. In it, the artist portrays the daily lives of people affected by OCD syndrome with an excellent visual narrative that puts the accent, almost with a cinematographic vision, on the personal experience of this phenomenon.

Maia Navas, foto de Marc Cisneros

From Art Madrid, we want to thank all these artists for sharing their creative experience with us and giving us the opportunity to dialogue with them about their present and future projects.