NH Gallery in Art Madrid\'15

La telaraña mágica. Álvaro Barrios.

 

Nohra Haime Gallery has just turned four years of life in january. This young gallery, established in Cartagena de Indias, Colombia, has sought from the beginning promoting artists from all backgrounds, not just Colombians, showing a broad spectrum of contemporary art with works from all artistic disciplines. Nohra Haime also has headquarters in New York. Both locations are focused on designing a strategy for cultural exchange in the north-south axis of the American continent. Furthermore, the gallery has sought to effectively promote their artists through collaborations with other cultural institutions and the art world, which have become monographic exhibitions at venues such as the Art Museum of the Americas, Training Center Spanish Cooperation in Cartagena and the Museum of Modern Art in Barranquilla.
 

Prey. Natalia Arias.

 

The director of the gallery, Sara Angel, brings to Art Madrid'15 a proposal in which highlights the art made by women with works of Niki de Saint Phalle, Alvaro Barrios, Julie Hedrick, Valerie Hird, Ruby Rumie, Natalia Arias and Francisca Sutil.

Les trois graces. Niki de Saint Phalle.

 

Niki de Saint Phalle (1930-2000) is one of the most influential creators of the second half of the twentieth century .
 
This Franco-American artist received an education in line with the social codes of New York's upper class. However, his unique worldview, their rebellion and creativity joined to not follow the script was already written for her. Niki de Saint Phalle is a self-taught artist who has been defined as a feminist, radical and political.
 
In Paris at the New Realists is linked in the 1960s, when his series of her shooting paintings , and since then uses the media, like Andy Warhol, to consolidate their public image. His career includes numerous public art projects, among which are The Tarot Garden in Tuscany, or The source Stravinsky in Paris. It also conducts experimental film and stage designs for ballet but, above all, reach the public with the development of their Nanas, huge sculptures that revolutionize the representation of women in art. 

Vasija coronada. Ruby Rumié.

 

Born in Cartagena de Indias (1958), Ruby Rumié studied in the Fine Arts School of Cartagena de Indias. Since her first exhibition (1985) in Cartagena, in which she was clearly influenced by the hyper-realism, Ruby has tried to reflect the face of characters belonging to the Cartagenian landscape, being then the coachmen, musicians, barbers, children, women, old men and black nobles, the protagonists of detailedly made portraits. The assembly with dolls and geometrical accessories has been another period through which Ruby's artistic life has passed, who was also interested in acrylic technique, as the outstanding characteristic in some of her creations.

We can talk about an evolution in which Ruby has taken as departure point the classic to reach to alternative presentations in which she achieves to involve painting, photography and other techniques to show her change of perspective. She has made important exhibitions in: Bogotá, Barranquilla, Cartagena; Santiago de Chile; Miami; Nueva York; Washington; Rouen; París. Rumie participated recently in the international section of the First Contemporary Art Bienal of Cartagena de Indias. She actually lives and works between Cartagena in Colombia and Santiago de Chile.

 

 

“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