OKUDA SAN MIGUEL, GUEST ARTIST AT ART MADRID\'18

Okuda San Miguel.

 

 

Suddenly, when turning that corner in that street of Porto, an impressive figure hits your look. It seems to grow up in the road, it seems to spring up from concrete like if it were a creature come from a parallel universe. Tens of facets of color, a geometric organism raises up in front of you and, also suddenly, you realize that you are looking at a phone box. It is an Okuda San Miguel’s, his signature, his shapes that appear on walls, alleys, buildings, bricks of the main capitals of the world, India, Mali, Mozambique, The US, Japan, Chile, Brazil, Peru, South Africa, Mexico and almost the whole Europe.

 

 

Okuda San Miguel. The International Church of Cannabis. Denver. 2017

 

 

His urban essence has enriched with time with the oriental philosophy, with metaphysical issues about the infinite, the universal, erasing the boundaries between the man and the nature, between the man and the art, to create an unique iconography that talks about the contradictions between modernity and tradition, between the homo capitalismus and the homo ludens, between the me and the myself in a continuous transformation.

 

“My art reflects my love for metamorphosis. Playing with the shapes I highlight this juxtaposition within my characters, mixing their profiles and personalities. I paint my faces with geometric patterns to show the equality between the different races, placing all skin types on the same level; this multicolorism symbolizes multiculturalism", Okuda San Miguel states.

 

 

Okuda San Miguel. Refugee Goddess. 2017

 

 

 

The jump from streets to the galleries, to the work in a studio, has been inevitable, a new generation of collectors and art lovers were asking for some fresh air in the market and this artist has brought to them a colour hurricane. "I use colours as a symbol of life and the natural world, while the gray scale in my paintings represents the concrete, death, dust and material of the classic sculptures," Okuda explains.

 

Now, Art Madrid, to celebrate its 13th edition and, why not saying it, to fight against superstitions, has asked to Okuda a little of his magic and he will be the guest artist in Art Madrid’18, joining the list of guests of past editions along with Ouka Leele, Carmen Calvo and Riera i Aragó, all of them seekers of new shapes and experimenters of the image.
 

 

 

 

Okuda San Miguel. Lion. Arcugnano. Italy. 2016

 

 

With Okuda San Miguel, and in collaboration with Ink And Movement, we will develop an exclusive work to Art Madrid and many other actions that we will tell about. Welcome, Okuda!

 

About the artist:
Okuda San Miguel. Santander, 1980. He lives in Madrid, where he also has his studio. Degree in Fine Arts from the Universidad Complutense de Madrid. His unique iconographic language of geometric and multicolored patterns on the streets of cities around the world have made of him one of the most recognized urban artists today. Renowned for his large-scale projects, Okuda is recognized for the transformation he made at the end of 2015 of an Asturian church: "Kaos Temple" like it was renamed, which has become a new icon of contemporary art. In parallel with his work in public space, in 2009 Okuda began his own practice of study. Since then, his work has been exhibited in galleries and venues as diverse as India, Mali, Mozambique, United States, Japan, Chile, Brazil, Peru, South Africa or Mexico, in addition to almost the entire European continent.

 

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.