Montenegro gallery in Art Madrid\'15

The Montenegro gallery, run by Victor M. Rodeiro, was founded in 1987 under the direction of Victor Rodeiro Montenegro. In the beginning was oriented towards 20th century Galician artist, with an aim to contribute to the dissemination of Galician art, hence its close collaboration retrospectives of artists such as José Frau, Arturo Souto, Sotomayor, Luis Seoane, Anton Lamazares Manuel Pesqueira, Manuel Antonio Fernández Colmeiro and without forgetting the modern and contemporary art, with a special interest in the historical avant-garde.
 
 

Obra de Adolfo Scholsser.

Montenegro's bet is a mixing of avant-garde with young contemporary artists and proposes art works by Bosco Sodi, Joan Miró, Wilfredo Lam, Adolfo Schlosser, AR Penk and young galician photographer Carla Andrade.
 
 

Fotografía de Carla Andrade.

 

Wilfredo Lam is a  cuban painter, one of the most original exponents of Surrealism in Latin America and creator of a new pictorial language that fuses Afro-Cuban heritage with the latest European avant-garde. He began his art studies at the San Alejandro Academy in Havana, and in 1924 traveled to Spain to study at the Academia de San Fernando in Madrid. After the outbreak of the Spanish Civil War (1936-1939), he moved to Paris (France) where he met the Spanish artist Pablo Picasso, who exerted a strong influence on his early works. In Paris he joins the group with French Surrealist poet André Breton and German artist Max Ernst. In 1941 he returned to Cuba where he began to develop a style of painting that although in close contact with surrealism, adopted elements of Afro-Cuban culture that shape dreamlike biomorphic images of exuberant imagination. His work matured into a more schematic style in almost monochrome tones, constantly searching for his own language of their land.

Obra de Wilfredo Lam.

 

Bosco Sodi Mexican painter who moves between Barcelona, New York and Mexico. Sodi's work achieves a rich pictorial material textures, inspired perhaps in the informality of Tàpies but including excellent color illustrations following the track of the experiences of a strong conceptual character of Kandinsky and Malevich, without losing color planes we refer to the works of Rothko.
Jaume Vidal in the catalog of his exhibition in Barcelona Art gallery Shatevín commented in relation to his work: "... Bosco Sodi continues reflection of those artists of Informel and Abstract Expressionism, deep artists, visionaries, artists that illuminate the underground life of things. "
Obra de Bosco Sodi.

 

“Everything that reduces art to a subjective, subconscious and spiritual discourse is a total adulation that discredits the art world”

Lino Lago looking forward inspiration in daily life to create a painting with a great conceptual load. In his most recent series entitled Fake Abstract, which he will exhibit at Art Madrid with the Moret Art Gallery, he plays with the characteristic elements of abstract painting: line and colour, where under a painting of flat colours they are guessed, through lines, famous classic portraits.

 

His work has been exhibited in renowned national and international spaces such as the Flint Institute of Michigan and the outstanding George Adams Gallery in New York and has participated in important fairs such as Arco, Art Miami or Art Fair “SH Contemporary 09″ from Shanghai.

 

Moret Art brings your production back to the Fair. How do you feel your work fits in Art Madrid?

Works of art today reflect the individualism of their authors; works of art are mobile, they travel and fit anywhere. Needless to say that this individualism is a generalized feature. There is another more academic art which is institutionalized art, less free. Art in Institutions and Government museums is the only one that has reliable regulated guidelines when it comes to “fit” in such places. In this case I normally refer to propaganda art. Art Fairs are generally perfect places to find free art (if that were possible, or made sense to some extent, or if we understand art as a social phenomenon based on liberty.)

 

In your work we can perceive the questioning of the glance as an abstract concept. How do you think contemporary art is viewed today?

There is a social stream that views art with some criticism and skepticism. I think this is healthy and it has a foundation that we do not want to analyze in depth. If we compared it to some other areas we would understand why. For example, in sports we can clearly see a more normal “justice.” He who is objectively faster or stronger wins. Talent in the sports world is something evident and because of that sports are disdained by the world of art. I believe anyone can reach their own conclusions. By all means Art is (in theory) an intellectual phenomenon, which does not mean that art turns intelligent anyone who approaches it, just as anyone who touches a soccer ball is not a Maradona. As an intellectual phenomenon it is impossible for art not to have lots of misguided argumentations, false judgments, sophistry, and hot air.

Your work has been recognized internationally on many occasions… Do you believe that artistic recognition is a dynamic facet?

More than dynamic. The results an artist needs are the sequel of the relationship between the artist and his work and society. This is something that is not learnt in any university.

 

As an artist, what do you feel committed to?

With liberty. This word has almost been shunned from the paraphernalia of today’s art. I am very critical with official art which is nothing but academe. In my work I introduce 19th-century academe as an ironic way of pointing out this problem: I believe that postmodern education and philosophy have been, and still are, a hoax that has diminished the intellectual capability of the humanities.

 

Criticism through irony over a great technical mastery is your hallmark. Although you have a diverse production… do you feel a unity in your work as a whole? Is that generated consciously or is it a natural artistic trait?

In my case I am aware of it. Besides, it is the process of hard work. To speak of naturalness, and above all to speak of unconsciousness is an aberration. Whatever reduces art to a subjective subconscious or spiritual discourse is an all-out sham that discredits the world of art.

 

Do you believe that artistic originality is getting to be difficult to find? Is it there where the value of your work rests?

I believe so. Although the difficulty here is to decide what to be original means. In times where the cultural predominance is in the hands of the passing anecdote, the emptiness, and the all goes… perhaps originality might be something else, right?

 

The gallery Moret Art will present the recent art works of the artists: Daniel Sueiras, Xurxo Gómez-Chao, Miguel Piñeiro, Pilar Diez