YOUNG ARTISTS IN ART MADRID’20

Art Madrid ’20 will feature almost 200 artists from around the world in this 15th edition. Within this wide-world international artistic panorama, the fair maintains its commitment to the professional development of the youngest. Artists whose career is their initial or intermediate state and that, despite their youth, already have a recognised place in the art market.

There is nothing more avant-garde than what we can observe in a fair. The need to give testimony of the historical evolution of art demands to originate an intergenerational representation. Artists who do not exceed 35 years and who are an essential part of the paradigm of contemporary art bringing an indispensable artistic reality in the eyes of who looks.

Cristina Gamón

60 Marina, 2016

Mixed media on methacrylate

81 x 130cm

Cristina Gamón

Colores Fronterizos, 2016

Acrílico sobre metacrilato

100 x 70cm

Art Madrid condenses, year after year, the whole work of the galleries, which strive to bring and show their best artists and their latest projects, and, among them, we cannot miss these artists who are in full creative and identity development. In this edition of Art Madrid ’20, the painting by Cristina Gamón (Valencia, 1987) stands out. She was granted the Gold Medal of the BMW National Painting Prize at her 24s. Shiras Gallery brings the work of this painter who is already present in public and private collections such as AEPE Foundation, Casa de Velázquez, Valencia City Council, Pierre Cardin, BMW Collection or Bilaketa Foundation.

Mária Švarbová

Origins, Trio 8, 2017

Digital print on paper

60 x 90cm

Mária Švarbová

The Tribune, Chill, 2016

Digital print on paper

50 x 50cm

It is worth to highlight this year, not only the youth of these artists but the representation they make of the multidisciplinarity present in the fair, as it happens with the photography of Mária Švarbová (Slovakia 1988). With a clean and direct style, she captures the subject's sense of psychology through experimentation with space, colour and atmosphere, moving away from the traditional portrait. Švarbová has worked for high-impact magazines such as Vogue, Forbes or The Guardian. In addition, she has won important awards, among which the Hasselblad Master 2018 stands out and has participated in exhibitions and fairs worldwide.

Misterpiro

Meanwhile, 2019

Esmalte acrílico y spray sobre panel de madera

120 x 120cm

Misterpiro

Meanwhile, 2019

Esmalte acrílico y spray sobre panel de madera

120 x 120cm

The fair defines itself as a dynamic space in which clearly, the work of these young artists reinforces also the approach of contemporary art to the younger audience. The urban style of Misterpiro (Madrid, 1994) is appreciated by this young audience. He was recognised by Forbes España magazine in 2017 as one of the 30 young Spaniards under 30 with the greatest influence in various activities. His work leads us to travel from complete abstraction to the figurative in all types of media.

We can also observe that social consciousness materialises strongly in younger artists with artistic impulses linked to the current historical moment. Nina Franco (Rio de Janeiro, 1988) leads us to deepen into contemporary socio-political conflicts through her work with a great visual impact.

Nina Franco, “Clandestinas”, installation, 2019

Within the curated program One Project, we cannot miss the youngest artists such as Julio Anaya (Málaga, 1987), with a marked artistic identity. He recreates iconic works of art and hides them in abandoned places, giving way to impressive contrasts. The ephemeral nature of his work makes photography fundamental because it gives meaning to artistic action by allowing the documentation of the work. The story closes with this gesture: the painting of a painting, which no longer exists.

Julio Anaya

Francisco de Goya - Vuelo de Brujas, 2019

Acrílico sobre cartón

100 x 75cm

Julio Anaya

Bocklin Zoom, 2019

C-print

80 x 100cm

Artists of medium-career artists are also present in the program of activities ART MADRID-PROYECTOR'20, framed in the action art and video art. The work of Maia Navas (Argentina, 1986) stands out. With her 33 years, besides teaching classes such as University professor, this artist and curator, directs the PLAY -Videoarte- Festival at the Cultural Center of the University Extension (Universidad Nacional del Nordeste). She has exhibited in various festivals of Argentina, Brazil, Uruguay, Peru, Colombia, Cuba, Spain, Italy, Portugal and China and won the award for the best Latin American Video Art at the VideoBabel Festival (Lima, Peru).

Maia Navas, “Restos de amor” (photogram), 2017.

And we must mention the other young talents that will be present at the fair: Adlane Samet (El Harrach, Argelia, 1989), Alejandro Monge (Zaragoza, 1988), Onay Rosquet (La Habana, 1987), Gerardo Liranza (San Antonio de los Baños, Cuba, 1987), Roldan Lauzán (La Habana, 1987), Joaquín Lalanne (Buenos Aires, 1989), Leonardo Moyano (Guayaquil, Ecuador, 1991), Chen Yun (Taiwan, 1988), Guim Tió Zarraluki (Barcelona, 1987), Lai Wei-Yu (Taipei, 1989). These are just some of the on-their-thirties artists who are part of the Art Madrid '20 exhibition.

We invite you to know and observe their work in this edition of the fair, where a great artistic diversity is presented from the different angles and characteristics that make up the contemporary art sphere in this 2020.

 

The difficult task of defining Eduardo Balanza's work becomes easier when you share a live experience with him. We enjoyed a visit to his studio on Saturday, February 22, within the “Art Madrid-Proyector'20” action program. It was the perfect opportunity to getting to know his work and personality, and to understand the clear connections that exist between his various works. Between eclectic, versatile, technological, experimental, audiovisual, editorial... and many other qualifications applicable to the work of this author, the encounter with Eduardo helped us discover a generous artist, concerned above all with socio-political and environmental issues, who apply technology in a very rational way to his projects, and who is not satisfied with a simple reading of his pieces.

Photo by Txema Alcega

Eduardo Balanza (Murcia, 1971) graduated in Audiovisual Media, studied documentary film and screenplay at the International School of Film and Television in Havana, as well as at the School of Visual Arts in New York. He needs to travel, and for several years he was roaming between Berlin and Spain while working in theatre companies as a set designer. As a plastic artist, he has developed a multidisciplinary work taking sound and music as a starting point on which to research and build pieces, installations and performances. However, even these attempts to explain his career fall short, since, although the influence of video is evident in many of his works, in others the construction of artefacts or the emergence of conceptual discourse through periodic publications are the essence of the piece. As he himself admits: "It is true that I studied photography, screen printing, 3D, I worked in cinema, in fashion as a photographer, advertising and campaigns, theatre... The multidisciplinary involves attitude and creative concern." Indeed, Eduardo is attitude and concern.

Photo by Melisa Medina

What is clear is that Eduardo Balanza shows great humility and transparency in all his work. The transformation of each life experience into learning reveals the complexity of our world, the diversity that inhabits it, the different ways of understanding that exist and the need we have to adapt ourselves, beyond pure survival. In a recent interview, Eduardo explained: “Living has also become a bit of resistance. Living requires adaptation, as in an ice age." And part of that adaptation consists of admitting mistakes, knowing how to rectify because nothing is linear and today's society imposes on us a dictatorial obligation of permanent success totally fake without margin for error. On this, the artist comments:

Sometimes failure is pleasant. You have to lose battles, be thrown into the mud and have to get up. There is no need to be afraid to start from scratch; from failure, you learn a lot. We get frustrated very quickly, we have no stamina.

Photo by Txema Alcega

This humanistic approach to his own life trajectory has made identity, music and war his three main axes of work. Music as a factor of union, and war, of separation, and underlying these opposing forces, which sometimes collide and sometimes point in the same direction, is the collective identity. The artistic exploration of these intangible realities, but drivers of many current social movements, transforms into an infinity of projects that this author develops from his personal experience, wanting to transfer to his works all the rawness, aridity and harmony that the real world offers us. Eduardo explains that:

Where culture does not arrive, barbarism arrives. ... There is a clear absence of many values. Music, identity, collective identity, group movements are trending and the most interesting thing right now is collage. War, music and identity are my subjects, in the end, everyone talks about the same thing.

During the visit to his studio in Madrid, Eduardo presented us with the artwork “B71”, an electroacoustic instrument inspired by the baroque organs that combines sound and technology with an impressive result. The B71 organ is an instrument that works activated by vibrating loudspeakers on plates capable of connecting to meteorological data websites, according to the coordinates entered in the system to generate surround music based on loops. B71 works in both manual and automatic modes, generating its own sounds by itself. Visitors were able to fully understand its operation and test the organ while Eduardo explained all the technical implications of this installation work.

Frame from "La fragilidad de habitar", 2019, Eduardo Balanza

In addition to this and to know some of his editorial pieces in the FEU project: United Electronic Front, we were also able to enjoy his work on video. In the garage of his studio, which acts as a projection room, we watched his latest proposal: “La fragilidad de habitar”, a documentary video art work that shows the situation of extreme need in the shanty towns of temporary workers in Níjar (Almería). This piece, made in 2019, created mostly from zenith planes, brings to light a reality often ignored and shows ways of life-based on absolute subsistence. Today the work is on display at the Cepaim Foundation in Madrid.

And in the meantime, Eduardo continues working. He is currently developing some video research on hydroelectric complexes in Norway, the "Landscape Transformation" and the generation of sounds in these natural spaces, supported by the Skien Komune from Telemark.

From here we thank him for opening the door of his studio and sharing an excellent Saturday morning with us as we learned a little more about his work.