The CEART of Fuenlabrada opens today the exhibition "Yturralde cosmos chaos (obras 1966-2019)" curated by Alfonso de la Torre, which can be visited until October 27th. Yturralde's long career has allowed him to travel through different artistic movements in a manner consistent with his creative impulses and artistic concerns, although never forgetting eclecticism and the fusion of techniques that have always characterised his work.

In his beginnings, focused on the study of geometric abstraction, Yturralde was part of the group “Before Art”. This collective, founded in Valencia at the end of the 60s proposed an approach to art devoid of any subjectivity or feeling. Their proposals resulted in works of scientific basis, with a claim of objectivity, in which there was little room for the artist's interpretations. What is there before art, as an absolute approach? This group had an unquestionable impact within the development of geometric abstraction in our country, following the trail of this movement initiated worldwide during the interwar period.

Figura imposible. 1972

These first steps left a mark on Yturralde's work. As it happened to Sempere or Sobrino, also members of the group, geometry has been present in one way or another in his work, opening later to kinetic art with his series of "Impossible Figures." His entry into the Calculation Center of the Madrid University in '68 marks the beginning of his first computer work. This experience allows him to continue his exploration of forms with a methodology that is inspired by mathematical formulation and reveals the author's interest in optical games, chromatic distortion, volumes created by contrast and figures generated from pure geometry.

Reflections, tribute to Kepler, 1975-76. Lasers and mix technique

Another significant milestone in his career was his time as a researcher at the Center for Advanced Visual Studies under the MIT (Massachusetts Institute of Technology). In this period he began to experiment with laser light and refraction in faceted bodies, with a project entitled "Four-dimensional structures". The resulting works recover the aura of an abstraction based on recognisable rectilinear forms but add the mystery of the lights and shadows created by chance in unfathomable backgrounds of deep darkness. Yturralde experiments with new methods and techniques to further deepen the study of form.

Flying cube

After returning from the United States, his work opens to happening, installations and performances. This creative line coexists with its constant interest in geometry, now approached from another dimension. The forms leave the plane and become three-dimensional figures that cross the blue skies. Thus the "Flying Structures" are born as guided kites from the ground. Polyhedral designs in white, red, yellow... are both a vital event and the result of a constructive test that defies physical laws. This exhibition will include several of these structures never seen before, which will receive the visitor suspended in the space.

"Dice", 2015. Acrylic on cavas

From the 90s, Yturralde returns to the study of geometry and its relationship with colour. The "Preludes", "Interludes" and "Postludes" are presented as an analysis of chromatic varieties and the ability to generate volumes and contours with slight tone mutations. This painting is of enormous conceptual and formal purity and sometimes plays with that subtle tension between the framing and the unframing, the conscious search for a visual balance that forces the angles to the limit of bearable.

The exhibition is a tribute to this passionate of geometry that has dedicated his production to the study of simple forms and unfolded the high complexity that structures can hold. Besides, it will be the ideal opportunity to know the evolution of his work with a selection of more than 60 pieces, mostly large format, belonging to institutional and private collections that otherwise could not be visited.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. PERFORMANCE CYCLE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: ALTA FACTURA. BY COLECTIVO LA BURRA NEGRA

March 4 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

"Discipline for Power.” Performance by La Burra Negra for Displacement of the Congress of Deputies by Roger Bernat. 2025.

Alta Factura subverts the conventional structure of the fashion runway to foreground the often-invisible processes that underpin artistic production. Through a series of conceptual textile works, the performance draws attention to the discipline of craft and the artist’s vulnerability, ultimately revealing those seams typically consigned to the margins, behind the scenes.

Colectivo La Burra Negra.

ABOUT EL COLECTIVO LA BURRA NEGRA

La Burra Negra is a nomadic performance art collective based in Málaga, founded in 2024 following its first residency in Totalán. The group is self-managed by Ascensión Soto Fernández, Gabriela Feldman de la Rocha, Sasha Camila Falcke, Sara Gema Domínguez Castillo, Sofía Barco Sánchez, and Regina Lagos González—six artists from diverse backgrounds and trajectories who met at the Hospital de Artistas at La Juan Gallery.

The collective brings together practitioners working across jewelry, painting, the performing arts, music, dance, cultural mediation, and arts management. Its activities include an annual residency in Totalán, the production of performative works, cultural mediation initiatives, and site-responsive interventions.

Since its inception, the collective has participated in the Periscopio series at La Térmica; presented A granel at the MVA in Málaga; carried out a number of actions in Totalán—the most recent during its second annual residency—and contributed its own proposals to the performance Displacement of the Congress of Deputies by Roger Bernat in Madrid.

At the core of La Burra Negra lies a commitment to collective creation and the exchange of knowledge. United in their effort to experiment with and disseminate performance art, the group explores the invisible dimensions of artistic labor—its temporalities, efforts, and relational dynamics, which so often remain unseen—as a form of critical affirmation.

Their practice emerges from dialogue and shared reflection, in the pursuit of decentralized spaces where art can be experienced and its processes made visible. Each residency and each action becomes an attempt to inhabit creation collectively, challenging conditions of precarity while fostering networks of care and collaboration that sustain both their own practice and that of those around them.