Fernando Latorre Gallery in Art Madrid\'15

Obra de Fabio Camarotta.

 

With roots from Zaragoza, Fernando Latorre Gallery was founded in 1991 in this city of Aragon and there he developed an intense labor of promotion of young talents for more than a decade. In 2003 Fernando decided to come to the capital, where he opened a space dedicated to contemporary art in Doctor Fourquet street, central axe of arts neighbourhood of Madrid. A new phase in this trajectory arrives in 2012, when he ventured to open a huge local in Rivas Vaciamadrid, while he keeps his office in Doctor Fourquet. The Rivas's space offers a new surface of 200 m2 completely dedicated to promotion and exhibition of his artists, a clear local whose walls never are empty.

 
 

Obra de Daniel Merlin.

 

Fernando knows how to identify young artists with a promising perspective. Among them we must mention Daniel Merlin, painter of 30 years old that has been recently rewarded with the BMW Award of Painting. He was born in Buenos Aires, where he started his contact with art and his first studies of painting. Then, he moved to the old continent and he studied with the painter Emma Gans in Madrid and he attended the painting and drawing workshop of the Cultural House of San Lorenzo del Escorial, led by the painter Álvaro Sellés. The portraits of this artist, of big dimensions, causes a strong impact of attraction and bewilderment. He uses the technique with a result similar to a big collage, splitting the faces, dividing, as if they were painting tesseras, the features and the expression, but respecting the essence of the portrayed. The neutral background of his pieces helps to strengthen the contrast effect and to stress the importance of the looks and the expressions.

 
 

Obra de Eok Seon.

 

On the other hand, we must make reference to the interesting proposal of the Korean artist Eok Seon who, after being exiled from his birth city, and after a long personal journey searching for emotional and vital stability, he decided to settle definitively in Madrid in 1993. Focused on sculpture and on work with geometry and space, he uses different materials from wood to glass. His work is now placed in numerous public and private collections, like the Fundación Privada Allegro (Madrid), the Fundación Casa Museo “A Solana” (Pontevedra), the Schema Art Museum de Chong Ju (Corea del Sur) and several private collections in Las Vegas and Indianápolis (EE.UU.), among many others.

 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.