tailored to the body

Victoria Civera said on these pages that everything is circular. Thoughts, life, history, works... Ideas spin in our heads in the same way that clothes are spun in the washing machine, at greater or lesser speed. These circular shapes, taken to the extreme on different supports, are the guiding thread of the second exhibition of Reykjavik Sea (Sagunto, 1995), one of the most interesting names of his generationat the Rosa Santos gallery.

It's all part of the shape of the wheel which, made of natural wood with branches, in the style of the fallas masters, opens the route. Another pirouette follows. Cow mining a small insect (2023), a splendid example of expanded cinema in which a super 8 film unfolds on a pedestal, shot on three wheels. He jumps to several light boxes in which, next to him, the paintings are enlarged. In this way, it crosses the audiovisual (there is also a projection on the ground floor), action and installation, and a series of themes – adolescence, technology, dance… – that have the body as their center.

It also works from the body, the performative and local tradition Veronica Moar (A Coruña, 1978) at the Ponce + Robles gallery, attentive to the Atlantic landscape, where he grew up, and the craft of fishing. In the always sea there are buoys brought from the ocean and others made by the artist, stranded wood, a fountain in which a drop patiently falls – emphasizing the time factor – and, above all, ceramics in the form of pebbles, spheres and balanced stones.

A potter by training, Moar makes us question, once again, that old distinction between art and craft. The most interesting? O performance with which he activated all these pieces on the opening day and which is now shown on video. At the contorts, emulating the movements of the sea, makes sounds with his mouth and drags a basin of water from the street. Dressed in crab shoes, all the elements have their reason for being here.

It gives a lot of clues about what's going on in the studio irene gonzalez (Málaga, 1988) mixing reality and fiction in his characteristic black and white drawings. In Lo personal y lo faro he places an exact replica of the platform on the floor of his workshop in the Silvestre gallery and shows, through his works, what happens in this workspace. He sticks images to the walls with masking tape, which often leave slight marks when removed, and the romantic resonances are many, starting with the themes he uses: childhood, hairstyles, clothing details.

He does not show the complete image, only the details that interest him, and opens his iconography to the fabrics of Japanese prints. Along with these impossible frames, made with scrupulous technique, he pushes the two dimensions of the paper to the limit. He hangs it loosely so it flows, folds it into trompe l'oeils, and even turns it into a sculpture.

Follow the topics that interest you