Las Reglas del Juego new exhibition of Chema Madoz

Photographer Chema Madoz presents in "Las Reglas del Juego", a compilation of his images created between 2008 and 2014. The exhibition will be in the madrilian space Alcalá 31 until August.

 
 
It is a visual poet who writes poetry with objects, lines, volumes and shadows, objects in black and white that make us more questions than gives answers. Chema Madoz, National Photography Prize in 2000, is one of our most personal, unique and recognizable photographers, and he has displayed his collection of mental constructions and poetic visions in Sala Alcalá 31 of Madrid under the title "Las Reglas del Juego", a name that includes their art works between 2008 and 2014.
 
Indeed, the game that offers us Madoz with 124 images, is a game without more rules than elegance, mastery of photo language and a sharp and precise idea, with the naturalness and sense of humor that characterizes the photographer's work.
 
 
Stopped clocks, caged clouds, hands with spinning words, tributes to Magritte,... all his black and white photograph on baryta paper, is exposed almost complete for the first time and it speaks of a more mature Madoz, without losing their conceptual references but expanding his personal research on the language of objects and including things like animals, texts or even drawing as tool and trigger for new ideas.
The exhibition Chema Madoz 2008-2014 Las Reglas del Juego, is presented on the occasion of granting to the artist the Photographic Cultural Prize of the Community of Madrid 2012. This exhibition is part of the Official Selection of the International Festival of Photography and Visual Arts, PHotoEspaña 2015. In parallel, and to bring the work of Chema Madoz to everyone, the workshop visits "Poets in black and white " aimed at families with children between 6 and 12 years and Saturday in June and July.

Chema Madoz (Madrid, 1958), is one of the most important photographers of our country and enjoys international renown. Proof of this is his recent appearance at the Rencontres d'Arles (France) festival. In 1983 he held his first solo exhibition at the Royal Photographic Society of Madrid and since 1990 develops his poetic objects, that will be a constant theme in his photography to the present. He has received numerous awards, the Culture Prize of the Community of Madrid, mode of Photography (2012), the National Photography Award (2000) and the PHotoEspaña Prize (1998), among others. Large institutions as the National Centre de Arte Reina Sofia Museum and the Pompidou Centre have devoted solo exhibitions and his work is in major public and private collections of contemporary art and the Telefonica Foundation, the Andalusian Centre of Photography, the Juan March Foundation , the IVAM, the Ministry of Culture, the Fine Arts Museum of Houston and the National Museum itself Centro de Arte Reina Sofia.

 

 

One of the purposes of the “Art Madrid-Proyector’20” program was to offer the opportunity to get to know the work of some invited creators, and, through an interactive talk, allow the public to open a direct dialogue with them. For this reason, from February 12th to 14th, were organised three masterclasses at Medialab Prado with Patxi Araújo, Olga Diego and Lois Patiño, all authors who work with the moving image, but who approach their projects from a diametrically opposite perspective. With this agenda, we were able to discuss three essential lines of current video-creation: the fusion with technology and artificial intelligence, the shaping of performances for documentary purposes and video art with film overtones. We already had the opportunity to remember the session with Patxi Araújo and his site-specific work "Sherezade" created for the Medialab Prado façade. Today we will talk about the meeting we had with Olga Diego and Lois Patiño.

Olga diego, photo by Javier Adiego

Olga Diego’s masterclass has as title: “The flight as a creative matter”. Olga is a multidisciplinary artist who in recent years has focused her work on sculpture and performance or action art, which she later documents with photography and video. This last aspect is one of the most interesting for her when she reflects on how the transformation of the piece from an experiential format to a recorded one takes place, and how individuals have become used to consuming this class of less invasive final products, from a space of comfort that our private devices offer.

One of Olga's main lines of research is related to autonomous flight systems and the creation of artefacts capable of rising with little energy. Can one create a material lighter than air itself? This idea has led her to experiment with numerous scientific forms and concepts, as well as taking a historical journey through the beginnings of flight and the progress of humanity to invent devices capable of flying. It is not just about recovering the history of aviation, something that has a much more technological and commercial side, but to investigate the ideas, experiments and tests that analysed the behaviour of air, the dynamics of flows and the design of individual aerodynamic structures, a concern that the human being showed since the Renaissance, with Leonardo Da Vinci.

Olga Diego, photo by Mario Gutiérrez Cru

Olga recovers many of these concepts and applies them to her recent projects. In her latest proposals, she has also worked with inflatable figures, as an alternative to conducted flight, using plastic materials for its construction. Her last exhibition “The automatic garden”, which could be enjoyed at the Alicante Museum of Contemporary Art and the Lonja del Pescado Exhibition Hall, also in Alicante, is a gigantic installation made up of almost a hundred inflatable-electronic sculptures inspired by the beautiful, extravagant and suggestive characters from the Garden of Earthly Delights, by El Bosco. This cloud of humanoid and zoomorphic figures, which move and beat thanks to the electronic mechanisms that keep them permanently inflated, also portrays the excesses of man, his lack of concern for the invasion of the environment, the overexposure to plastic and the exploitation of natural resources. A composition that focuses on "sin", as an indirect message that was also conveyed in the work of El Bosco.

Masterclass of Lois Patiño. Photo by Marta Suárez-Mansilla

For his part, Lois Patiño's career is intimately connected to film work. “Time and image” was the title of his masterclass. His video pieces, whether brief or feature-long films contain a concern closely linked to film language, but on a path that leaves conventional narratives aside. Among the main motifs that occupy his work, Lois opts for more contemplative aesthetics, where the expressive power of the image itself is prioritised, without seeking too many added effects in conventional cinema through sound effects, dialogues or other devices.





This is why Lois's work is so poetic and lyrical. His proposals incorporate technological innovations to cause very concrete effects in his works, but all of this helps to delve into the issues that concern this creator and that, since his beginnings, have been present in his work.

Lois Patiño, foto de Mario Gutiérrez Cru

Lois Patiño has always been interested in the relationship of the individual with the landscape and how it can modulate our way of behaving in society and determine our idiosyncrasy. To what extent are we dependent on our environment? How is culture defined by its connection to the landscape? These and other questions plague the author's work in which many contemplative images abound.

In addition, Lois presented us in scoop the trailer for his latest feature-long film "Lúa vermella" that a few days after the masterclass was officially presented at the Berlinale - International Film Festival in Berlin 2020.