"Days when a distant word takes hold of me. I go through those days sleepwalking and transparent. The beautiful automaton sings to herself, enchants herself, tells herself cases and things: a nest of rigid threads where I dance and weep at my numerous funerals. (She is her mirror set on fire, her waiting in cold bonfires, her mystical element, her fornication of names growing alone in the pale night)" El árbol de Diana, Alejandra Pizarnik.
In this exhibition, darkness and gloom emerge as powerful scenarios for exploring the political and poetic potential of uncertainty. "Solos en la noche pálida" proposes a pictorial landscape of introspection and agitation, but also of dreamlike fantasy, desire and psychedelia. The confused, the blurred, the uncertain is proposed as a space of possibility.
The exhibition brings together a series of paintings and works on paper produced in recent years and includes pieces by Carlos García-Alix, Blanca Guerrero, Lucía Gutiérrez Vázquez, Leopoldo Mata and Alejandro Villa-Durán. Using different languages, from figurative to abstraction, the artists explore different experiences and approaches to the nocturnal, proposing night as something that goes beyond a time zone and is a friend of other notions, such as the ambiguous, the alternate, the confused. The dream, the psychedelic, the brilliant, the blindness, the excess, the refuge. A parallel dimension where silence apparently reigns and where perhaps we are more alive. In the dream the limits disappear, the unconscious emerges, in the darkness another world blossoms.
In his particular artistic approach, he immerses reality in the gloom of the night, creating paintings that materialise in just 15 minutes. His works are annotations of the night, capturing the essence of entering or leaving this mysterious period. García-Alix succeeds in capturing specific moments and states, especially at dusk, turning the night into a tangible material. His approach is formal and traditional, rooted in obvious observation, emphasising the need to be quick in his expression, reflecting the transience of the night and visually capturing the sensation of a blue sky in darkness.
Lucía Gutiérrez Vázquez (Madrid, 1992) es una arquitecta y artista multidisciplinar cuyo enfoque pone en diálogo la pintura, el paisaje y la interacción entre el espacio físico y las experiencias sensoriales. Su formación académica incluye un Doctorado en Arquitectura en la Universidad Politécnica de Madrid (2019 - actualidad) y una amplia formación complementaria en el ámbito de la comunicación arquitectónica, la pintura y la historia del arte.
A lo largo de su carrera ha participado en exposiciones individuales y colectivas destacadas, entre ellas la Bienal de Arquitectura de Venecia (2018) y el Festival de Fotografía de Coruña (2018), mostrando una amplia versatilidad en disciplinas artísticas como la fotografía, la pintura y la escenografía. Su obra explora temáticas que vinculan el espacio arquitectónico con la percepción humana.
Lucía ha sido reconocida con numerosos premios y becas, como el Primer Premio Certamen Jóvenes Creadores (2021) y la Beca Fundación Antonio Gala (2018-2019), además de recibir varias becas para la formación de profesorado universitario por el Ministerio de Universidades (2020-2024). Su obra ha sido publicada en revistas académicas y libros sobre arquitectura y arte contemporáneo.
Su práctica aborda lo cotidiano a través de una exploración íntima del color y el espacio con la serenidad de quien no pretende asumir la lógica visual, en ocasiones excesiva y ruidosa, de los tiempos modernos. Lucía Gutiérrez acoge en sus lienzos, de pincelada espesa y abocetada, la inmensidad de lo que se desliza por su mirada: una mirada que dignifica con la misma destreza la luz incidiendo sobre un paisaje como la frágil materialidad de un barquito de papel. La pintura funciona aquí como un eslabón sigiloso que sostiene el salto que hay entre la imagen real que las cosas ofrecen y la mirada que las recorre.
(Madrid/New York, 1991) merges photography, painting and collage to create suggestive spaces, where light in shadow takes on a singular protagonism. Her creative process begins with a conscious observation, renouncing herself in front of landscapes or significant moments. In her work, she seeks to perpetuate the sensorial essence of ephemeral phenomena such as the glare of the sun, the darkness of the night and the nuances of the half-light. Guerrero aspires to give physical dimension to fleeting perceptions, revealing the light in all darkness. The selective elimination of light in her work gives form to the composition, emerging figures, horizons and lights behind mountains through a manual and mystical process. Her approach aims to capture a perpetual state of gloom, becoming a witness and constantly pursuing the ephemeral essence of observation, a constant escape that evokes the Japanese concept of "yugen".
(Badajoz, 1994) After finishing his degree in Fine Arts in Cuenca, he spent several years in Paris developing himself as a tattoo artist. On his return to Spain he studied the master Landa (Annual Laboratory to Nurture Artistic Dispersion) in Espositivo, at which point he resumed his artistic practice as a painter until now.
"If there is a pattern that I feel comfortable with in my approach to my work, it is the juxtaposition of different visual languages as a consequence of abandoning ideas halfway through execution that are often overlapped with other ideas/systems, evoking dispersion and the non-apprehension of any truth. I am interested in creating from the noise and the continuous interruption that characterises our present by including it in the pictorial process; playing with concepts seriously for a while to demolish them later with a sensation generating a miscellany that speaks of my way of understanding the contemporary world".
(Jalisco, 1993) is a graduate of the Royal College of Art, London. He previously studied Textile Design at Central Saint Martins London.
The starting point of his pictorial and sculptural work is “intuitive choreography”, a term that condenses a methodological repetition: going out, moving about in order to return, and then tracing the route. In general, these trips outside the city seek for the body to become the means for an attentive presence in its surroundings. The wager is not on an interpretation of the natural, but rather on a singular relation that allows the general body a differential when affected by the encounter: that is, by the unpredictable. The sensation opens up and the perception responds not by precipitating the signs, but by establishing a line of interpretation, a position–with a view to being shared–about what is experienced.
Upon returning, the second part of the process begins. Thinking of production as a kind of transit, Alejandro usually works in series that allow me to explore what has been lived and experienced, while this is affected by each medium’s materials and conditions.
In painting, the limit is the color palette itself, which I select before starting. More than a representation, painting is for me a choreography that begins and ends with the body: the hand traces, but the body moves on the canvas. This emits a temporality linked to the trance between painting and memory; painting is the presence in front of the picture, while memory (of the journey that precedes the practice) is the counterpoint that builds the rhythm of the composition. In it, the overlapping of marks and blotches is as relevant as the void that sustains both the experience and the image.
Pradiauto presents the second edition of the Host line with "La luna se levanta", the first solo exhibition of the artist Gádor Salís de Carvajal. Gádor (Madrid, 1990) comes from a background in graphic design and photography that naturally expands towards other formats of different materialities. Photography is a fundamental element in her practice, as it is through this medium that she captures much of the content that she later shapes and expands.
"La luna se levanta" is the film that Gádor was watching when she immortalised a vase with flowers that appeared on the screen. Gádor's gaze remains in an image and so she pauses the film, photographs the television and prints this moment. This is the process she has followed in the creation of the photographic series presented for the first time in this exhibition. All her work moves playfully between different disciplines including photography, screenshot, painting or ceramics to pursue a common state, which is time in pause, with a constant subject, which is nature: her work repeatedly returns to reframing petals, flowers, leaves, plants, gardens.
The series ("Qué te parecen mis rosas", 2023) is shown alongside two other bodies of work; a set of ceramic vases and acrylic paintings on canvas and paper. The artist has developed an intimate relationship with ceramics and its process; she spends long hours communicating and understanding the material, its responses, its reactions. Behind the simple format of the vase, there is a careful attention to colour, proportion and finish. Finally, the paintings continue an exercise of observation and transformation of an image: from mobile phone screenshots - often taken from instagram or television - Gádor parcells the image into groups of colour, simplifying and synthesising the original reference and bringing it to its most sensorial and decoded side - colour.
By endowing all these digital images with a physical condition, Gádor gives them back, in a way, a lost materiality. The flowers now inhabit a new, eternal screen that can be touched and kept in time with us.
Gádor (Madrid, 1990) comes from a background in graphic design and photography that expands, naturally, towards other formats of different materialities. Photography is a fundamental element in her practice, as it is from this medium that she captures much of the content that she later moulds and expands.
"I've managed to persuade them to take time and look at what I have seen, and when they took the time to actually see my flower, they attributed their own ideas about flowers to my flower and they write about my flower as if I think and see what they think of that flower and recognise in it, but that is not my case" G. O'Keeffe.
We are very pleased to present Storytellers, the second solo project by Gabriel Alonso (Madrid, 1986) at Pradiauto. The exhibition presents a selection of works that appeal to the natural and the industrial, mostly sculptural, made over the last year, offering a panoramic view of the techniques and motifs already characteristic of his work. In line with his previous work, the exhibition constantly oscillates between destruction, decay, scratching, chaos - and life, birth, sprouting. The project rescues artists such as Georgia O'Keeffe, who in the past also worked with flowers, to transport us to a shared place in the collective memory: the garden.
Pradiauto celebrates its second anniversary with a retrospective exhibition featuring a selection of the most iconic pieces that have been exhibited at the gallery. The exhibition includes pieces by artists Gabriel Alonso, Karolina Dworska, Esther Merinero, Elisa Pardo Puch, Nada Bien (Ramón Duerto Orlando), Alberto Feijoo, Alejandro Villa-Durán and Evelina Hägglund, with whom we are happy to celebrate a road travelled and the road that remains to do.
After the exhibitions "Hot Links" (April 2021) and "La Espera" (May 2022), in which we have shown different works by the artist Elisa Pardo Puch (Madrid, 1988) in our gallery, in Arte Santander we will be showing a selection of works by the artist that includes drawings made in 2022, 2023, as well as a new series in production.
From the works shown, the Pradiauto stand presents a panoramic view of her recent work in different techniques - patchwork, drawing and ceramics.
The title of the project responds to Pardo Puch's interest in the capacity of storytelling to bring us closer to reality. The works presented have an impact, in different ways, on the way in which these narratives crystallise stories and preserve them for the future. At the same time, the project focuses on the use of certain imaginaries related to the forest and the fantastic.
Elisa Pardo Puch (1988, Madrid). After completing her Bachelor's Degree in Fine Arts at the UCM at the CES Felipe II in Aranjuez in 2014, she obtained a Master's Degree in Contemporary Art History and Visual Culture from the Universidad Autónoma de Madrid and the Universidad Complutense de Madrid in 2017. Previously, in 2010, she completed her Higher Studies in Design at the Escuela de Arte no10 in Madrid, and in 2009, she was the beneficiary of an Erasmus scholarship at the École Duperré in Paris.
She has participated in numerous exhibitions such as ‘Metal Heart: lo que pesa’ at Departamento, Bilbao; ‘Bajo el cielo de la noche’ at Boiler Room, Luis Adelantado Gallery, Valencia; and ‘A Strange Fairytale’ at Pradiauto Gallery, ArteSantander, Santander; or ‘La Espera’, also with Pradiauto, in Madrid. In addition, her work has been part of various group exhibitions, such as the group presentation of the Miquel Casablancas Prize 2023 in Barcelona; ‘Malas Hierbas’ at CasaBanchel, Madrid, in 2024; ‘Una exposición oral’ at Sant Andreu Contemporani, Barcelona; and ‘Garden Shed’ at Villa Bergerie, in Huesca, in 2023, among others.
Elisa Pardo Puch has also participated in various artistic residencies, such as the current one at GlogauAIR, Berlin, from January to June 2024, where she created the work for the exhibition Quienes vagan curiosos por mil maravillas; the Residency at Villa Bergerie, Pollock-Krasner Foundation, Huesca, 2023; Artist in Residence Munich, 2022; or the Matadero Artist Residency Programme. CRA Matadero, Madrid, 2020. Pardo Puch has received numerous awards such as the Miquel Casablancas Prize (finalist), Barcelona, 2023; Acquisition Prize at Nada Sobra, Nebrija University, Madrid, 2017; and Special Mention at Getxoarte, Bilbao, 2016.
"Whispers, dead languages, traces, plots -or subplots-, reminiscences of inert matter. Subplotters reveals a desire to create new imaginaries out of the occult, exploring its affective, narrative and communicative strategies. If contemporary reality were an unshakable fortress, governed by homogeneous and rigid discourses and narratives, the artistic practices present in Subplotters seek to find cavities in the stone or holes in its moat in which to rethink the stories of contemporaneity. Narratives found underground, buried under the foundations of the world, secrets that snake through the bodies of the present or future legends yet to be written" Jorge Van den Eynde
Jorge Van den Eynde - Curator of the exhibition
Jorge Van den Eynde (Madrid, 1995) is a curator and editor. His practice seeks to mobilise narratives and fictions that question binary links such as magic and science, the body and technology or the human and the non-human. In 2020 he completed an MA in curating at Goldsmiths University of London. Recently, he has curated the cycle Meandro Merodeo (Nadie Nunca Nada No, 2022), which speculates on possible mutations of the exhibition space, and La flecha que mata el tiempo (ABM Confecciones, 2022). As an editor, Jorge was invited to edit the March 2022 issue of A*Desk and is currently working on the next issue of Concreta (Spring, 2023), which will focus on fantasy and contemporary art. During his career, he has worked and collaborated with institutions and organisations such as La Casa Encendida, Festival FLORA, La Fábrica, EXIT, The Peggy Guggenheim Collection, Estudio Larsen and the Patronato de la Alhambra, among others. He has also published in magazines such as Concreta, exit-express.com, A*Desk and Mercurius Magazine.
(Madrid, 1993) lives and works in Madrid. Her pieces act as reminiscences but also as sketches; the conjugation of different materials investigates their representational power, their phantasmagoria.
His work has recently been shown at Centro de Arte 2 de Mayo, Madrid; Conde Duque, Madrid; Sala de Arte Joven, Madrid; Can Felipa Arts Visuals, Barcelona; Salón, Madrid; ETOPIA Centro de Arte y Tecnología, Zaragoza; Tabacalera Promoción del Arte, Madrid; Injuve, Sala Amadís, Madrid; Archipiélago, Antigua Embajada Británica, Madrid; Las Cigarreras. Cultura Contemporánea, Alicante; Medialab-prado, Madrid.
(A Coruña, 1992) He is an artist who works and lives in Madrid. His work, which combines disciplines such as sculpture, sound and film, focuses on language, the image, its articulations and the search for the designation of its minimal units through material and poetic processes such as repetition, circular movement and its relationship with bodily and natural processes.
His work has been exhibited in institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), La Casa Encendida (Madrid), Sala de arte joven (Madrid), Sala Amadís Injuve (Madrid), Matadero (Madrid), CC Can Felipa (Barcelona), Fabra i Coats (Barcelona), DA2 Domus Artium 2002 (Salamanca), Las Cigarreras (Alicante), Etopia: Center of Art and Technology (Zaragoza), as well as in other countries such as the USA, Mexico, Italy and Scotland.
(Vancouver, Canadá) is a British-Canadian artist that explores present time through popular dances; how it spreads, circles and ends. She has recently graduated in the MFA in Fine Arts in Goldsmiths University of London, where she received Almacantar Studio Award and the Goldsmiths Junior Fellowship. Her work has recently been exhibited in Transmediale, AdK, Berlin; Seventeen, Londres; Matt’s Gallery, Mattflix; Circa x Dazed Class of 2022, Piccadilly Lights, London; Limes, Berlin, K-Pop Square, Seoul, Fed Square, Melbourne; Overmorrow House, Battle; and Alchemy Film and Moving Image Festival, Hawick. In 2021 she co-founded with the artist Niamh Schmidtke Future Artifacts FM, project that received the Arts Council Project Grant in 2022.
(b. 1992) lives and works in London and Stockholm. After completing her bachelor degree at AVA - Academy of Visual Arts in Ljubljana in 2018, she entered the Master of Fine Art program at Goldsmiths, University of London, where she graduated in 2021. Her work has been shown in solo and group exhibitions internationally, including at Incubator (2022), UK; Cromwell Place (2022), UK; Green Family Foundation (2022), U.S.; Nicoletti Contemporary (2022), UK; Union Pacific (2021); Saatchi Gallery, (2021), UK; Inter Pblc, Copenhagen, (2021) DK; Jakobsbergs konsthall (2020), SWE; Kiribati National Museum, (2019) Tarawa, KI; Temporary Gallery, (2016) DE; and the Biennial of Graphic Arts, The Museum of Modern Art (2016), SLO. Hägglund was a resident at Transborders in Austria/Slovenia (2019) and Land404 in Sweden (2018). She received grants and awards from The Swedish Arts Committee (2022), Goldsmiths, University of London (Warden’s Award, 2021); Gunvor och Joseph Anérs foundation (2020); Fredrika Bremer förbundets foundation (2020); Sixten Gemzéus foundation (2019); The Royal Swedish Academy of Fine Arts (2019); Anders Sandrews foundation (2019); and Foundation AAA (2018 and 2017). In 2021, Hägglund received a public commission from Plaza Protocol, curated by Tjaša Pogačar, Ljubljana, Slovenia.
Pradiauto is happy to open the first solo show of Nada Bien. Nada bien is the artistic project of Ramón Duero Orlando (Madrid, 1992). Audiovisual Communication graduate, tattoo artist and self-taught painter.
The exhibition presents a selection of paintings and ceramics made in the last few years. Its peculiar fantastic world -inspired in fairytales and everyday stories- and its characteristic broken line in the drawings, are found in his paintings with an invented technical process that goes on in layers, just like the skin. Every painting starts with a drawing in the backside of the canvas. This way, the painting becomes inaccessible in its totality. Memory and oblivion come and go constantly in the process. Every piece comes from a progressive superposition of layers made of different materials and scales, turning into a board game of broken and open tales.
Nada Bien is the artistic project of Ramón Duerto Orlando (Madrid, 1992), a graduate in audiovisual communication and currently a tattooist and artist. Nada Bien gives space to a series of creative concerns - "It's a concept that guides the practice. Something like a polysemic mantra, which helps to focus action and thought. To be able to move forward in experimentation and in the illusion of sharing experiences and ways of seeing".
His technique can be characterised as mixed: hectographic ink, paper on canvas, spray acrylic, graphite. Something very beautiful about his work is that he intervenes on the canvas on both sides; generating an agency on the back. The shapes painted on the back are intuited from the front, emphasising or hiding themselves depending on the light.
"But then the mirror-door opens and with the movement of the door a new composition of the shadowy room is created and into that composition come flasks and flasks of glass of fugitive clarity." - Clarice Lispector.
Pradiauto is happy to present Heart Keeper, Esther Merinero's first solo exhibition, which is spatially articulated around a sculptural installation that is surrounded by a new series of resin works, a suspended sculpture and small drawings in bronze.
Heart Keeper - protected heart, pulse and armour, skin and shield. Merinero's work constantly revolves around the idea of protection, but also of vulnerability, combining in her works organic or visceral forms with metallic coatings (resin works) and taking personal objects (padlocks, keys, jewellery or even a bed - "Conversation Stuck in the Trhoat [encore]") to refer to that intimate place where memory and the creation of memories come into play. Personal places and objects coexist with found ones, hardware, with the use of metal and protective elements such as helmets, knee pads, and even an armour suit ("Princess's Wardrobe").
In line with her previous work, Heart Keeper stems from an exploration of the space between (or the point where) seemingly antagonistic ideas or forms meet - the soft and its armour, fragility and strength, or the amorphous and the line that gathers it. Sometimes her work presents two physically separate but emotionally united bodies, attempting to embrace each other or showing mutual dependence ("Drop Down Your Guard 1, 2 & 3" and "Keep Awake 1 & 2"). Through this material - and its application in different semi-translucent layers of colour - these pieces allow the eye to slowly wander through their layers, shapes and stories. At the same time, their glossy, mirrored finish blurs the distinction between subject and object, allowing us to appear in them - whilst also acting as surfaces on which to encounter our phobias and desires. They are spatially dual works, consisting of a complex and deep interior and, at the same time, involving us in the treatment of the surface.
Heart Keeper is not a retrospective exhibition, but in it, however, the artist returns to recurring themes in his work, such as love, fantasy as a space of possibility and the fragility of contemporary connections. At the same time, her work continues a speculation on the power of certain objects to retain, to store, to protect these weak connections and to give them a new physical existence. Merinero imagines that feelings can acquire new lives, new homes, new bodies. This is the first time she has shown work in written format.
(1994, Madrid). She studied her BA in Fine Art at Chelsea College of Arts and recently graduated from an MA in Sculpture at the Royal College of Art with the support of Fundació “La Caixa”, awarding her a a fellowship for postgraduate studies. Her work has been included in international exhibitions at Dada Post (Berlin), Centre del Carme (Valencia), Space2B (Madrid), Charsoo Honar (Tehran) or Saartchi Gallery (London), amongst others. Now represented by Pradiauto (Madrid).
Esther has also given lectures and workshops internationally in institutions such as University of the Arts (London), University for the Creative Arts (Farnham) or in Espositivo Academy (Madrid), and has curated exhibitions such as Archipiélago at the former British Embassy in Madrid, or Baldea.
"Underbelly" es el primer proyecto en solitario de Javier Montoro en Pradiauto. Su práctica atraviesa la escultura, la pintura, el grabado y las técnicas mixtas, a menudo combinando distintos lenguajes y procesos. La exposición presenta una nueva serie obras producidas en 2022 e incluye escultura, pintura e instalación. Montoro plantea un posible futuro sin nosotros, donde la ropa y los objetos siguen existiendo desligados ya de su función original. La muestra también presta atención a su evolución como pintor, que incorpora nuevos materiales a su lenguaje abstracto.
"Underbelly"
Texto de Sina Sohrab
noviembre 2022
"Desgraciadamente, las personas no tenemos una idea completa y sin sesgos de nuestro ser corpóreo. Por diversas razones, históricas y anímicas, pensamos que nuestro cuerpo, como tal, está incompleto: un cuerpo al que se ha sustraído la ropa. Esa capa externa, la superficie hecha a medida, es la que nos lleva generalmente a pensar en nuestro verdadero yo. Lo normal es ese envoltorio, es lo que se ve. En la vida cotidiana apreciamos solo el cuerpo empaquetado, y la sustancia humana queda oculta, de forma tajante y deliberada. La negación de un cuerpo que no nos satisface mediante el ocultamiento no ayuda a mejorar el aspecto físico, pero la aversión por la carne nos ha llevado a producir los ingeniosos atavíos que para nosotros constituye la ropa que tanto apreciamos. En el momento en que se añadió la vestimenta -poco importa si se trata del taparrabos de los pueblos primitivos o de los paños que envuelven como momias a los civilizados- la armonía natural del cuerpo quedó descompensada. La interdependencia de cuerpo y ropa ha generado continuamente nuevos conflictos, cuya conciliación constituye la peculiar estética del vestido."
Bernard Rudofsky, Are Clothes Modern?, 1947
La obsesión por encubrir el cuerpo, ya sea para protegernos de los elementos o de la vergüenza bíblica, nos ha llevado a crear todo un universo de revestimientos que complementan nuestra realidad anatómica con los más variados adornos y accesorios. Realzamos nuestra vulnerabilidad natural con telas, rellenos, bolsillos; con botones, cremalleras y hebillas. Ajustamos las envolturas a nuestra medida, y cada década introducimos nuevas tendencias de vestir una forma, la cual, en cambio, no ha evolucionado lo más mínimo.
De este modo creamos, invariablemente, cosas que atienden a finalidades sociológicas concretas: compramos camisetas con eslóganes políticos para identificarnos con esas ideologías, nos vestimos de cierta manera para agradar con nuestro aspecto a una posible pareja, llevamos uniformes como forma de manifestar nuestra afinidad con un grupo o equipo, y así sucesivamente. La lista de intenciones que se persiguen con la vestimenta es ilimitada, como lo son las modas disponibles en el mercado, y nuestra dependencia es tan profunda que parece trascender los límites tanto históricos como culturales - hasta los pueblos no contactados del Amazonas tienen formas de vestir tradicionales.
Las prendas que utilizamos para vestir en cualquiera de estas posibles configuraciones y estilos son un complemento de quien las lleva. Por tanto, cabe preguntarse qué pasa con la vestimenta cuando se deja que cobre vida propia. ¿Qué forma adopta el paño de un atavío cuando deja de depender de un cuerpo? Con las mismas costuras que encorsetaban algo que ya no está ahí, es ahora inerte e independiente, ¿y cómo alcanza con sus pliegues una órbita exterior para cristalizar en una nueva forma de ser? Más aún, ¿qué es la ropa sin las personas?
"Underbelly", la exposición de Javier Montoro, muestra cómo esas carcasas cobran vida sin tener que revestir nada. Las ropas se mueven de otra forma, adoptan posturas diferentes, y crean un lenguaje que parece ajeno a nuestra existencia carnal. Todo esto nos infunde cierta inquietud, pues parece que no necesitan de un cuerpo para existir. Esa incomodidad ya se aprecia en las películas apocalípticas, en las que nunca se muestra un montón de ropa que deja atrás un personaje al ascender hacia los cielos. El viaje se hace con toda la vestimenta, a pesar del mandato bíblico de llegar al más allá desprovisto de bienes materiales. Podría parecer que la ropa sin un cuerpo transmite cierta sensación de pérdida en lugar de la posibilidad de ganar algo. "Underbelly" propone otra cosa: que tal vez hay optimismo ante la ausencia humana, que puede existir una nueva lengua vernácula sin que el cuerpo sea el único que la conforme.
"My concern, my line of research into the image, shall we say, has to do not with representation, but with the means of photography, and with how to transcend its two-dimensionality. In this exhibition I looked for the ideal display for some images that I have made in the last few months, which have to do with surrounding, with moving, with a drift. These photos can thus free themselves from a wall, from that two-dimensionality, and appear to be transferred to other bodies that are three-dimensional. On the other hand, my work always has to do with the now, and the photos are annotations of what is happening to me at a given moment".
- Excerpt of the interview with Ianko López
(Alicante, 1985) is a collector, accumulator, apprentice and visual artist, based between Alicante and London, interested in the field of photography and its relationship with other disciplines such as collage, installation or the design and publication of books. The artist is interested in the materiality of the image treated as an object and in its relationship with other practices such as sculpture, installations and design. Graduated in Communication at the University of Alicante in 2009, in 2010 he moved to Madrid and completed a Master in Photography and Artistic Projects at the European University of Madrid. He has had solo exhibitions at the Sala Kursala at the University of Cádiz, at the Centro 14 in Alicante and at the Luis Adelantado and Punto galleries (currently Galería Jorge López) in Valencia. He has also participated in group exhibitions at Centro Conde Duque Madrid, LABoral Centro de Arte de Gijón, Centro Cívic Can Felipa in Barcelona, Hospedería Fonseca Universidad de Salamanca, Universidad de Puerto Rico, Sala Canal de Isabel II de Madrid, Sala de Arte Joven Comunidad de Madrid, ARCO 17, Fotomuseum Wintherthur or The Photographer's Gallery in London.
