SERGIO PREGO AND THE SPACE

Photo of Sergio Prego

 

 

Sergio Prego, studied at the Faculty of Fine Arts in Bilbao and later completed his training at Arteleku, San Sebastián. This artist, has realized exhibitions at international level among which stand out Art 41 Basilea, the center Contemporary Art of Siena or PS1 of New York. He has also exhibited at the Guggenheim Museum in Bilbao and Art Unlimited.

 

 

High Rise

 

 

High Rise is a plastic response to the new museum idea. This sample, as the materials used to carry out the sculpture are ductile and light. The location is located in the entrance hall and the new exhibition space of three floors of open height in the heart of the Center. The composition of the sculpture has been reduced to the use of basic geometric bodies. The form only exists in a particular state or thanks to the action performed with the materials of the same.

 

 

 

Photo of a installation of Sergio Prego, untitled, 2011

 

 

Inspired by membrane architecture, a technique from the late 1960s, is a synonym for variable autonomy, isolation and the need for integration converge at the same point. The Prego piece, made up of different pieces, forms a set of accumulation. Tetrahedrons, made of rigid cardboard, investigate the articulation of the volumes, thus applying a series of joint possibilities that give the piece a certain changing air.

 

 

Photo of an installation of Sergio Prego, untitled, 2011

 

The curious thing about this staging is that it allows the viewer to enter the piece and interact with it, creating an affective bond. The sum of inflatable elements, in different plants emphasizes the modular character of this one and it gets that air crosses the interior. You can enjoy this exhibition in the Ca2M (Móstoles) until February 26.

 

 

 

Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.