New edition Cartoons for a City in CentroCentro Cibeles

Mauro Entrialgo, Santiago Valenzuela, Carmen and Laura Pacheco, FIST, María Herreros ... the fourth floor of CentroCentro Cibeles serves as a platform to expose, every two months, the portrait that each of these artist-illustrators does to the city of Madrid, its streets, its buildings and the people who inhabit them.

The cycle "Cartoons for a City" is 3 years old and this year, from September 25, 2014 to September 1, 2015, curated by PUÑO they participate: María Herreros from Valencia, the self-publisher of comics Davin, Galician Cristobal Fortúnez, the illustrator from Barcelona Cristina Daura and the artist from Leon Javier Arce.
 
María Herreros September 26 to November 16, 2014
 
Davin November 20, 2014 - January 24, 2015
 
Christopher Fortúnez January 28 to March 22, 2015
 
Javier Arce March 25 to May 24, 2015
 
Cristina Daura September 6 to September 25 2015
 

The exhibition allows visitors to enjoy unpublished materials and large size formats, hard to find in other comic shows. Since its first edition, curated by Mauro Entrialgo, the intention is to make a story of Madrid and write a multifaceted history of the city, with art, from the perspective of multiple artists.

 

The exhibition shows unpublished works made specifically for the space, turning this project into a kind of "mural publication" in which the city is counted by sketches and you can enjoyed the walls of the space left as a record of the passage of each artist ... Among the most prominent figures, was the manga artist Yuichi Yokoyama, as guest artist by the Japan Foundation.

 
On the CentroCentros's website you can check the inscriptions for the next workshops with the artists of "Cartoons for a City".
 
June 14 (11 to 13h): Davin
Davin has his workshop "Big cities". A drawing workshop about cities, buildings and horizons of concrete and steel with fine tip markers. It includes development of a collective fanzine with the drawings.
 
June 20 (11 to 13h): Cristobal Fortúnez
From the hand of Cristobal Fortúnez we explore the question of the characters. It will address the creation and characterization of them: election of the elements that comprise it, significance and expression thereof.
 
June 27 (11 to 13h): María Herreros
María Herreros proposes researching the subject of arguments. In particular the workshop invites to rummage in the biographies of each, use personal experiences and mix with fiction to narrate comic.
 
June 28 (11 to 13h): Javier Arce.
Javier Arce will discuss the creative restrictions and boundaries of the comic format. Will investigate what makes a comic be a comic, we analyze the bases and the classic rules that define and then we blow up.
 
In September, the workshops continue with Cristina Daura and the curator of the cycle, PUÑO.
 

 

Buying the first work of art always instils respect. A difficult feeling to define that mixes vertigo with adrenaline. But over uncertainty and caution, a pleasurable sense of connection, understanding, and desire prevails. That work that, once seen, stays in the mind, reappears in the memory several times a day and seems to tell you that it is willing to be part of your home, is the perfect candidate to make the decision.

In the first steps, many collectors do point out that one does not start from an established plan, but rather that one acquires pieces based on taste and the connection one feels with them until, after time, they realise that the volume of works that accumulates can be labelled as a "collection". For example, this is how Alicia Aza explains it:

“I was not aware that I was collecting until many years later when a third party named me as a collector and talked about my collection. In 2005, I became aware of what collecting means and decided to articulate a collection with an identity of criteria and formats”.

Marcos Martín Blanco, co-founder, with his wife Elena Rueda, of the MER Collection, shares this same opinion:

“Collecting has been a passion, driven by a visceral state that encourages you to do so. The collection, in terms of acquisitions, has not been particularly complicated because, let's face it: it is easy to buy because they are all beautiful things and you have some clear idea of where you want to go, but at first those preferences were not so clear. It is with the time that a criterion is being formed”.

It is not always this way, of course, but for the buyer who starts out on this path, the personal connection that entails the first piece is essential. There it is the germ of a lasting relationship that is not limited to a simple aesthetic question but is an open window to knowledge, to exploration, to a world that is often unknown to us and awakens our fascination. The seed of that connection is purely sentimental, and it is precisely this impulse that determines the first acquisitions. The first piece is never forgotten.

Art Madrid'20, photo by Ana Maqueda

Exceeding the usual recommendations made by advisers and agents, rare is the occasion when the art lover decides to buy by pure investment. These paths usually open later, when the volume of pieces is large enough. In addition, there are those who are a bit against this classic concept of the traditional collector, approached from an eccentric, elitist and little accessible vision. On the contrary, art buyers are, above all, art lovers, sentient beings and permeable to creative stimulus who, at a given moment, decide to deepen the relationship they already have with art to take a piece home.

It is not that hard to overcome that small psychological barrier that turns the visitor into a buyer if one approaches the matter from a more personal and intimate perspective than from social consideration. Small-format works, graphic work or serial photography are of great help for this, whose price range, generally more affordable, allows a closer comparison to the daily basis expenses. In this way, the purchase of art falls within the range of feasible activities and becomes something close and possible.

Art Madrid'20, photo by Marc Cisneros

At that moment, a different relationship with art begins, based on pure experience and coexistence with the acquired piece. Perhaps it can be seen as an act of daring, but on many occasions, it is more a matter of necessity and transformation. Collectors also agree that the acquisition of an artwork is an exercise on personal analysis and opening up to a new field of knowledge that was previously alien to us. Alicia Aza explains that the reason she acquired her first piece of video art, by Sergio Prego, is because she did not understand it and because she saw it as a challenge and an opportunity to self-improve. This open window to knowledge creates new connections and bonds with creators, as one of the most fascinating parts of the process. Candela Álvarez Soldevilla explains that

"I think the most interesting thing in the art world is talking to artists. They are people with a special sensitivity to listen and understand.”

And Alicia Aza also says:

"I can share the satisfaction of being able to count on many artists in my circle of close friends today, and that is a long way to go."

Thus, with works that seem acceptable within the horizon of expenses that each one considers affordable, it is easy to find a piece that catches us. Since then, our home also evolves into a space in which art has a permanent place and presence, and there is no doubt that this transforms us inside.

Art Madrid'20, photo by Henar Herguera

Jaime Sordo, owner of Los Bragales collection and founder of the 9915 Contemporary Art Collectors Association, has always defined his relationship with art as a true passion and a vital necessity. For buyers who start on this path, he has the following recommendation:

“It is an essential condition that they feel the need to live with their passion to enjoy the works. Another very important aspect is that before making decisions for purchases, they are informed, so it is necessary to read specialised newspapers and books, visit exhibitions and museums and a lot of contact with galleries, which is an important and very specific source of information of the artists they represent. Finally, the presence in national and international art fairs. All this generates information and training.”

Indeed, fairs have become a good place for discovery because they condense a wide offer and allow diverse and global contact in a concentrated way. For this reason, many new generation buyers start in the context of an event such as Art Madrid, whose closeness and quality constitute a unique opportunity to meet, soak up and feed the passion for art.

(*) quotes taken from various interviews published in public media between 2013 and 2019.