TRADITIONAL MATERIALS IN THE UP-TO-DATE ART

With the current need to innovate and be up to date, it seems that certain materials, once traditional, are condemned to oblivion. Gone are the natural pigments made by the artist himself and linen cloths on which the painter applies his primer mixture are increasingly scarce.

However, some creators are reluctant to leave aside elements that have always been present in the art world and in which they find their source of inspiration, as it is the case with patterned fabrics. As a kind of revival of remnants taken from the memory chest, the floral motifs and textures offered by these elements represent a return to an earlier, more traditional era, in which everything demanded time and things went at a lower speed.

Pierre Louis Geldenhuys

Mágica I, 2017

Tessellation and wild silk in light box

95 x 95cm

Pierre Louis Geldenhuys

Nenúfares, 2017

Wild silk and light box

111.5 x 111.5cm

This is the case of Pierre Louis Geldenhuys, who defines himself as a textile artist, as well as being an haute couture designer. His work is an elegant combination of transparencies, textures, volumes and light boxes to create incredible contrast effects that make drawings with the fabric. It is easy to abstract oneself and think that we are before pieces painted on wood board or methacrylate, however, each stroke and shape is a fold of cloth meticulously folded and designed to compose a structure of silk, linen or cotton.

Another artist clearly influenced by the fashion world and who incorporates those references to her works is Paz Barreiro. Her pieces convey that ideal atmosphere of the summertime in which afternoons passed by on the shore of a beach or reading on the grass. But the positivity and joy of her compositions are due to a large extent to the choice of backgrounds, which resemble collages of cutouts superimposed of floral and dotted patterns, something that recalls the aesthetics of the 50s.

By using printed fabrics on the wall and the body of her models, Cecilia Paredes builds an infinite discourse to reflect on the relationship of the human being with nature. Some of her most representative photographs are the result of a previous creation calculated, measured and staged, from which the image remains. With this game of positions between the different planes, Cecilia manages to mimic the figures with their surroundings, as if they were one more element of that colourful and exuberant nature of the fabrics she uses.

The work of Ana Teresa Barboza develops among threads and embroidery frames, with needle and thimble. This artist has explored different themes with a powerful visual impact, despite using such modest materials in her work. The concern for the natural environment, domestic violence, urban growth, are some of the projects of this Peruvian artist who extends the possibilities of these materials and gives them a new meaning.

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.