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Remedios Varo, Creation of Birds, 1957, Museum of Modern Art, Mexico City, Mexico

 

 

Maria de los Remedios Alicia Rodriga Varo and Uranga, better known as Remedios Varo (1908-1963), was born in Gerona at the beginning of the century, after beginning her studies at the San Fernando Academy, contracted, then moved to Paris. At the outbreak of the Spanish Civil War, she positioned herself for the Republican side and ended up emigrating to Mexico, she did not know that at the time, but this would be her home. Here she dedicated herself to advertising illustration, but soon became known, and now everyone knows her for being one of the first women to popularize her work in Mexico.

 

 

Remedios varo, Mimicry, 1960. Museum of Modern Art, Mexico City, Mexico.

 

 

His work is easily recognizable by this fantastic tint and symbolic transcendence. One of its marks is the tendency to mysticism. Together with Leonora Carrington she forged a friendship that transcended in time and for that reason now, they are associated so frequently. Remedios, marked his works with a careful scientific iconography and much of his work can now be admired in the Museum of Modern Art in Mexico. He has been a protagonist in many times, but this exhibition is outstanding among the others.

 

 

Remedios Varo. Notes and anecdotes from a collection. Photography © Museo de Arte Moderno. Mexico City, Mexico.

 

 

"Remedios Varo, notes and anecdotes of a collection" shows with 39 pieces. It is all the trajectory of the artist. Its main piece is the catalog rationale, first published in 1994 by Era. The exhibition is divided into three large thematic groups, which tell us curious data, studies of the signatures and the thread of the whole exhibition. Also testimonies of external people who tell the essence of the works.

 

 

Photo of the exhibition "Remedios Varo, notes and anecdotes of a collection"

 

The last part of the visit focuses more on curiosities of this great artist of surrealism, known in the whole world. You can enjoy the exhibition until February 2017 at the Museum of Modern Art of Mexico. Undoubtedly, Varo was a woman who put aside the conventions and ended up giving the recipe of how to have erotic dreams to anyone who wanted to share it, here we leave the ingredients of chef Varo.

 


Ingredients:
One kilo of strong root
Three white hens
A head of garlic
Four kilos of honey
A mirror
Two calf livers
A brick
Two clothes pegs
A corset with whales
Two false mustaches
Hats to taste

 

 

 

 

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.