dialogues on the periphery of art

This exhibition begins by appealing to the memory of the word and ends with the sound of the mixed voice. It asks us to review our memory, that of the times of studying Spanish Literature, reciting the modernist verses of Rosalía de Castro (“Goodbye rivers, goodbye fountains…”) and Gustavo Adolfo Bécquer (“The black swallows will return…”) in their title to discover, at the exit, one of García Lorca's Galician poems in the artist's voice Julia Fuentesal, by Fuentesal Arenillas, who reads it with an Andalusian accent. the entire proposal Angel Calvo Ulloa It is Peter G. Romeroboth curators, unfolds in poetic exchanges to reflect on the periphery as a condition of thought.

Every center has its margins, but other centers are also established on the perimeters. Therefore, in this “theater of operations” that they bring together a selection of works and documents by 26 Galician or Andalusian artists, they demand something more than a meeting outside the capital. It is a horizontal movement along an Atlantic axis, from south to northwest in both directions, organized into five nuclei: poetry, modernity, work, exodus and the eccentric.

This path, like a good dialogue, wanders through a landscape. It is not a literal representation of nature, but of the human experience in it. On the modern side, understood as development, as the core and backbone, there are other ways of doing, thinking and living.

This margin is presented as invoked the memory of children, as an alternative to History with capital letters Yes, they are Walter Benjamin's heirs. The German philosopher's non-hierarchical conception also articulates the protagonists: modern and contemporary people who claim craftsmanship as “manual thinking”, the popular as that which was abandoned, forced by hunger or politics, migrating to work in regimes of exploitation or go into exile to live outside domination. This way, everything is perceived in a more plural way.

The pieces present in the rooms of Casa de Iberoamérica, recovered for a reflective program for art, form a finely thought out picture. The simplicity of Fernando García's paper cones, the installation of random images of New Galician Sculptureperfectly aligned in a formal way with works of Imaculada Salinas and Cristina Mejías, the anarchist visit to the beach of Isaiah Grinolothe recordings of Juan Isaac Silva or the performative sculpture of Alegría and Piñero.

Together they arrange a meeting with different accents to talk about what we call identitymore as a state than as a place, and trace a genealogy of the Spain that could have been.

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