XXII ARTS EXHIBITION OF ASTURIAS 2011.
The entrance to the exhibition is free and sand you can visit the 10 November to 30 December 2011; Monday to Friday 11.30 a 14.30 and 18.00 a 21.00 h, Saturday 11.30 a 14.30 h., Sundays and holidays closed. C / General Yagüe, 3 Oviedo.
Once the presentation will follow a year of roaming in various clubs and national Asturian.
Review. Newspaper El Comercio. 18-Nov 2011
Respect to a common territory
The Arts XXII sample shows the creation of the Principality itself in Blur
Are grateful to check this humble Region Aun artists produce more or less interesting, capable of respecting combining past and present global stimulus and respecting common areas. The Plastic Arts Exhibition XXII of the Principality, These days occupied room Oviedo Blur, feeds of the six authors born residents in Asturias, they cherish some collective traits, namely: intensity, reflection, enthusiasm, search rigor and common areas, from six disparate theses. The curator of this edition, Benjamin Weil, highlighted in the catalog artists share interest by the 'continuum' historical, with some feedback from the works exhibited here denoting, formal similarities beyond, conceptual or plastic, generational discourse.
For those who opt for painting, struck by the refined poetic Veronica Garcia (1976) that 'sale' of the picture plane occupy the exhibition space. Random nodes that tie them dibujos these 'expanded' to serve us to this collective symbol rupture front. It does also Ernesto Junco (1976), otherwise equally effective, pattern using QR codes (system matrices of dots to administer inventories) which extrapolates to the canvas, proposing an abstraction that is not so. Not for nothing, 'Represents' something, deriving in a playful and ironic composition.
Painting in motion, fitting tribute to Bill Viola's videos, is what gives us Sandra Estrada (1981) Through its 6 screens, between and installation videcreación. Body language serves here as a guide and aim to develop beautiful compositions.
A reflection on the body that also traps theses Amalia Ulman (1989), where photography, ceramics, stamping or tattoo on silk and techniques of 'batik' enable you to question aspects of multiple communication and ethnic references. Felix Carpio (1983) provides portrait photography 'to use', reinforcing feelings of domestic intimacy between parts. Images delicate, more or less dramatic, more or less emphatic, where beauty is nourished by the sounds of silence. The bet 'technology' comes from the hand of David Martinez (1984), that part of a table, a laser and a device which generates steam for 'drawing' space, to make the invisible visible.Return