POP CULTURE, CONCEPTUAL ART AND STREET ART. GALERÍA HISPÁNICA CONTEMPORÁNEA

Hispánica Contemporánea (based in Madrid and Mexico), one of the veteran galleries in Art Madrid, proposes for this edition a proposal with national and international artists that could be framed within trends such as Pop Art, Conceptual Art, Activism and Neo-Pop in contrast and interaction with other more current artistic trends such as kinetic art, neo-figurative art and street art. Hispánica Contemporánea proposes in its stand a historical journey through purely contemporary discourses and aesthetics.

The pop culture will be very present at Hispánica's booth. We will see it in the pieces "Flat Depth " of the American artist Paul Rousso, who from a flat surface creates volumes, turning a flat object into a three-dimensional one. Rousso, using complex techniques and under a satirical and ironic approach, discards and wrinkles elements such as American dollar bills, candy wrappers and pages from magazines and newspapers, inflating them to extraordinary dimensions.

Paul Rousso

Action Comic Superman March, 2018

Mixed media

92 x 246cm

The artist (also American) Peter Anton, in the wake of Rousso, creates realistic and giant sculptures, but this time food is the protagonist, especially chocolate candies and other sweets. Anton exaggerates the size of food to give it a new meaning; his creative process begins by smelling, dissecting, feeling and deeply studying the food he is going to represent.

The Italian artist Fidias Falaschetti is concerned with other issues related to pop culture such as consumerism and the globalization of the media. Falaschetti, from an ironic and playful point of view, investigates in his work the relationship between digital and analog, appropriating materials and elements or characters from the past and transforming them into contemporary objects. An example of this is his iconic Disney characters in resin covered in aluminium.

Peter Anton

Splendor Variety, 2017

Mixed technique

90 x 90cm

The sculptural installations by the American artist Rafael Barrios and the kinetic pieces in ceramics by Carlos Cruz Díez represent a turning point in the Hispánica booth. In the work of these two artists, both pioneers in their artistic tendencies although with different plastic discourses, color has a fundamental role.

Rafael Barrios plays with geometrical forms, volumes and colour, building his sculptures in a direction totally far from the orthodox, defying the laws of space and generating new perceptive alternatives with his "floating virtual works". Hispánica Contemporánea is the only gallery that represents Rafael Barrios in Spain.

The Venezuelan artist Cruz-Díez conceives color as an autonomous element, which evolves in space and time, without the help of form or support, in a continuous present. In his delicate ceramics of the series "Cromovela", works that we will be able to see in Art Madrid, we observe how the artist takes the kinetic art to its maximum expression in the land of the three-dimensionality.

Rafael Barrios

Mural, 2015

Lacquered steel

160 x 126cm

Xavier Mascaró and Manolo Valdés, two artists with solid careers and with whom Hispánica has been working for years, will show at the Fair a selection of pieces that could be included within the neofigurative trend.

The pieces by Xavier Mascaró that Hispánica will present in Art Madrid, are a sample of the different lines of research with which the French artist has been working since his beginnings. It is worth mentioning that the artist has recently been included in the list of artists of the prestigious Opera gallery and we will be able to see in Art Madrid a selection of his famous sculptures in iron, bronze and corrugated copper combined with his pieces in enameled ceramics.

From the artist Manolo Valdés we will be able to see work on paper of his characteristic representations of elegant and sophisticated "Gentlemen " and "Ladies with pamela " accompanied by small format bronze sculptures.

Xavier Mascaró

Guardián, 2012

Cobre corrugado

175 x 100cm

Mr.Brainwash, iconic street art artist, will bring "street art" to the stand walls. In his works we see again characteristic elements of the aesthetics of American pop culture fused with his personal style.

Exercising an absolute contrast with the work of the urban artist, we find the deep and symbolic paintings of the Basque artist Guillermo Fornés Through a very personal language, the artist wants to transmit "his expressive force, and at the same time, give the work the poetics and subtlety that make up his plastic identity. In this way, he always speaks of the emotion." His large canvases charged with symbolism, awaken timeless emotions and feelings.

Mr. Brainwash

Einstein, 2016

Técnica Mixta sobre metal

50 x 50cm

Guillermo Fornés

Arch Light, 2018

Mixed media on canvas

146 x 114cm

Crowning the stand of Hispánica Contemporánea the monotypes of one of the most influential artists in contemporary conceptual art, the American Mel Bochner, who works exclusively with the gallery Hispánica in Spain and Mexico.

Bochner is, together with Joseph Kosuth, Art & Language, Lawrence Weiner, Douglas Houbler and Robert Barry, responsible for one of the artistic revolutions of the moment. Trained in an artistic environment (his father was an advertising sign painter), his interest has always been focused on the purely conceptual rather than the superficial. Influenced by his father, from an early age he became interested in strictly verbal information and the meaning of words. Little by little, Bochner begins to divest himself of the elements most closely linked to the pictorial (colour, plane, surface) in order to explore the possibilities of the linguistic universe. Later, he recovers colour in his works to make it an indispensable element in his work.

Mel Bochner

Amazing, 2018

Monotype with collage, engraving and reliefs on Twinrocker paper

158.8 x 119.4cm

In art works such as "Blah, Blah, Blah" or "Amazing", the semantics or meaning of the words, varies as we read them. The artist explores the duality between the solitary and private nature of writing and the way in which the final product is exposed openly to the public, bringing together an immense wealth of subjective gradations in language.

 

The origins of the art of action can be located in the Dadaist and Surrealist movements of 1920, where the first events or encounters in which the terms collage or assemblage are consolidated sprung up. However, it was not until the 1960s that these manifestations acquired their own entity and became an independent art movement. Action art, also called live art, delves into the idea that you cannot separate the artistic creation process from your own experience, as if everything was connected and true art is what takes place in the processes, not both in the materialised results.

Olga Diego getting ready for the performance. Photo by Marc Cisneros

Allan Kaprow, an artist born in Atlantic City and who gave true meaning to the terms happening or performance, contributed to the evolution of this idea. In the view of this author, art makes sense in the artist's relationship with the viewer in the process of artistic creation itself. Kaprow coined a famous quote on this movement:

The line between art and life should be kept as fluid, and perhaps indistinct, as possible.

A tireless artist, he contributed significantly to fluxus and body art movements, and carried out countless "activities" (as he called them) throughout his career. Today we owe a lot to this pioneer, who let himself be carried away by the creative impulse channelled into actions where the ephemeral and the experiential merge.

Eunice Artur & Bruno Gonçalves during their performance. Photo by Sara Junquera

Today performance art continues to arouse enormous curiosity, even 60 years after it was born. However, within the history of art, it remains a still novel and minority trend. Precisely for this reason, Art Madrid wanted to give to action art a room into the fair and share with the big public an artistic experience, different from the exhibition offer of the participating galleries, so that contact with today’s contemporary pulse would become a memory, an event, an experience. The momentary, ephemeral nature of these actions, in such a way that they only exist in the here and now, makes each proposal doubly interesting because it is totally unrepeatable.

The “Art Madrid-Proyector’20” program included four actions during the days of the fair. We have had the opportunity to remember two of the performances in which sound and video image dominated, by Iván Puñal and Arturo Moya and Ruth Abellán. Today we give way to the other two, whose main characteristic is the generation of an intimate space, a kind of parallel reality that raises doubts in the viewer about what they are seeing and how they should understand it.

Eunice Artur during her performance. Photo by Sara Junquera

One of these works was “Partidura”, by the Portuguese artist Eunice Artur in collaboration with Bruno Golçalves, which took place on Thursday 27th at 8 pm. This project explores the idea of developing a musical notation for new forms of electronic sound, and it does so through a live intervention that incorporates plant elements, strings that vibrate with the sound and a lot of charcoal dust so that the sound waves move the elements and “draw” their own graphic representation. The performance shows Eunice interacting with these elements while Bruno makes amplified sounds with an electric guitar. The set is mysterious and poetic at the same time. The desire to transform sound into a pictorial expression unfolds in delicate, measured and stealthy actions to interfere as little as possible in the process. Eunice moves between graphite powder-coated sheets of paper hanging from the ceiling, looking for the proper angle to vibrate strings running diagonally across the sheets. This live creation process is based on waiting and contemplation, wrapped in music that seems like a mantra from other lands.

Olga Diego and Mario Gutiérrez Cru before the performace. Photo by Marc Cisneros

The last performance of the cycle was starred by Olga Diego, on Saturday 29th. The entrance of the fair transformed into an improvised stage in which the artist carried out her action "The bubble woman show". Olga Diego has been working on the concept of flight and its integration into art for some time through artefacts that can fly autonomously, without combustion. One of her most ambitious projects on this subject is “The automated garden”, an enormous installation of a hundred inflatable figures made of transparent plastic that occupied the 1,000 m2 of the Alicante Museum of Contemporary Art and the Lonja del Pescado Exhibition Hall, also in Alicante. This proposal, in addition to delving into research on the lightness of materials and the ability to stay suspended with maximum energy savings, it is an open criticism of the excessive use of plastic in our environment and its aberrant power of contamination.

Photo by Ricardo Perucha

"The bubble woman show" is an action that involves the viewer. Olga enters a giant bubble of translucent plastic keeping the air inside, and thus, as if she were a soap bubble, she moves through space until she invites someone from the public to enter the bubble with her and share an intimate moment. This personal dialogue is the most unknown and mysterious part of the process and invites us to reflect on situations of isolation, on the return to the mother's womb, on the need to protect ourselves from the excessive noise of this fast-paced world.

Both actions aroused the amazement of the visitors and turned the fair into a space in which live art played a transforming role within the wide artistic offer that the event displays each year.