Cristina Lucas. Manchas en el silencio

Cristina Lucas. "Clockwise, 2016". Installation. 360 clocks' mechanisms.

 

 

The artist recourses to the video-creation, the installation and the happening as a contemporary discourse to question the reality of what’s established. Educated in Fine Arts in Madrid, she now comes back to the capital with this recent work in which she keeps herself loyal to her critic essence. She was awarded the Culture Prize 2017 of the Comunidad de Madrid, in the Fine Arts category. Cristina uses art as a mean of historical research, and as an expression mechanism to convey the eternal concern of mankind upon certain universals: time, humanity.

 

 

 

Cristina Lucas."El rayo que no cesa, 2015". Video. Work under creation.

 

 

 

The current proposal by Cristina Lucas is focused on three main subject-axles: history, time and violence. Her works, of huge dimension, try to compile the universe of sensations that arise when representing the evolution of our recent history, both from a temporary approach, and from the perspective of the war conflicts that most affected the civilian population. As background, the commemoration of the 80th anniversary of the Guernica’s bombing.


The main piece of the exhibition is a video-installation entitled “El rayo que no cesa”. Cristina offers a representation of the air bombings that took place from 1912 onwards and that caused civilian victims. This creation is still on construction, fed by the contributions of the participants of the workshop Madrid 45, that the artist offered in Abril within the Visual Arts Program of the Comunidad de Madrid.
 

 

 

 

Cristina Lucas. "2 Piper Prometeo, 2013". Video.

 

 

A rich program of free activities to all public joins the exhibition, from guided tours, and inter-generational workshops, to lectures with specialists… among which they must be highlighted the talks with the curator of the exhibition, Gerardo Mosquea, and the artist herself, where they will share first hand their views upon the show (until the 5th of November).

 

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.