The archery in 30 ‘expanded’ names

Project room continuators of previous editions, the Artist projects They offer the Visitor of Arc the possibility of contemplating the works of some creators with a little more amplitude and detail.

They are proposals made by the galleries, which sometimes pose a specific speech (with presentations especially conceived for the fair) and others, simply, they seek to give greater visibility to the work of a creator. This year they are thirty the projects presented And, usually, they are usually integrated into the stand of each gallery.

Some are retrospective, as is the case with the review of the painter’s work Antonio Maya (Jaén, 1950), through whose exquisite realism we are offered an image of the gypsy society (here of its own environment) regardless of topics and mixtifications (José de la Hand, 7a05). Also retrospect are the projects dedicated to Javier Inés (1956-1991), a photographer who left an unpayable gallery of portraits of the most unique characters in the pre-Olympic Barcelona (Rocío Santa Cruz); Already the multifaceted Etel Adnan (1925-2021) with its colorists compositions on paper, ceramics or fabrics, belonging to different stages of its trajectory, in Lelong (9b10).

Without moving from the new continent

We continue with HESSIE (1936-2017) French artist whose real name was Carmen Lydia Djuric, with a series of suggestive textile works of the 70s (Marc Doménech, 7a16); Also the Cuban Ana Mendieta (1948 -1985), of whom there is a set of photographs, plus a video, of its well -known ‘silhouettes’ (Prats Nogueras Blanchard, 9c06). By the way, that this ill -fated artist is dedicated part of the project of Pablo Helguera (1971), with a collection of icons of a sygnical character, in addition to their humorous drawings (Minimum space, 9b15). Drawing is also – if expanded – what we find in the work of Sandra Mar (1955), dynamic and polymorphic (Rosa Santos, 9d02).

Similar to it, the plastic discourse of Jonathan Hammer (Chicago, 1960) Find its continuity in ceramics with a brilliant coherence, absolutely credible and very appropriate to the free nature of its forms (F2).

Carmen Calvo (Valencia, 1950) is very well represented with three fantastic pieces of the 90s (Luis advance, 9c22). With very different means – almost we could say that opposites, if we did not seem sin of simplists – works Daniel Canogar (1964), expanding our aesthetic horizon from the iconic, versatile and unpredictable capillarity of the Internet universe; Without a doubt, the best I’ve seen in this arc edition (Max star, 9b22).

Technological is also the scope of the works of Xabi Bou (Barcelona, ​​1979) whose captivating images are the product of the digital coding of certain natural phenomena (Track, 9b23); Some of this are also in the unusual ‘landscapes’ of Karlos Gil (1984), an artist of great interest in what is the exploration of technological possibilities for the knowledge of our environment, from unusual perspectives (Francisco Fino9a26). And in nature they also have their origin the hybrid proposals – in more than one sense – of the Ecuadorian Muñoz day (Guayaquil, 1989), inspired by the electrical responses of our body (Ponce+Robles, 9d15).

The artist of Tunisian origin, Monia Ben Hamouda (1991), meanwhile, works from its cultural heritage, taking advantage of the formal and sensory connotations of the materials used (Chertlüdde, 9b17). Of great importance is also the material in the pieces of Toni Schmale (1980), although its poetics – of an industrial character, tending to monochrome, seeking the resignification of the established – is of a good sign different from that of the previous artist (Krinzinger, 7b10). The monochromy attends, in the case of Francesc Torres (1948) to a willingness to pictorial reductionism that is pertinent with the forcefulness of the enunciative dimension of its paintings. An artist who is always worth paying attention (T20, 9a12).

And since we have talked about painting, let’s point out the projects based on this discipline: Manuel M. Romero (1993), whose compositions it is interesting to consider the best practices of the Field Painting color (Artnueve, 9a25). Although sculptor, English David Nash (1945) A series of paper works can be seen, magnificent for the quality of its execution, its vibrant chromatism and for the aesthetic result (Álvaro Alcázar, 7a13).

In volume

Warm minimalism of Luis Vassallo (1981), also transferred to volume, proposes some of its usual rereadors of art history (Valverde space, 9a08). The Cuban Rocío García (1955) and the Chilean Pablo Linsambarth (1989) share a somewhat naive figuration of flat colors, with some immediacy in treatment and apparently narrative (The apartment, 9a10; atm, 9a27). Urban Aldo (1991) has literally occupied the space where his project with a rereading of the Tarot letters, which he interprets having as horizon the idea of ​​cataclysm, full of connotations and symbolism (Bombon Projects, 9a16).

Symbolism is also in the installation of Ana Lizarazo (1966), whose atmosphere is something like a saturated solution of meanings around corporality, composing a kind of immersive discourse (Casa Regnier, 7b17). The proposal of Aimée Zito Lema (1982) displays a series of heterogeneous elements that patent the complexity of the journalistic registry and, with it, the problems of memory (The rubber, 9a05). The record – if other of another nature: urban and/or architectural – it works as a starting point in the Santander project Juan López (1979): The emptying used as constructive material leads to reflection on the space we inhabit (Juan Silió, 9a24).

The multimedia artist Ryan Gander (1964) It raises a paradoxical situation, with a space that hinders the approach to paintings that, in turn, are hidden totally or partially (Esther Schipper, 9b11). On the contrary, the couple formed by Alegría Castillo and José Antonio S. Piñero They offer punctual information, almost taxonomic, around communicative and significance processes (Alarcón raised, 9d13). Very striking is the deployment that Alicia Vogel (1991) has made in its space, before whose elements, of varied nature, numerous associations are waken (Mayoral, 7c01).

Finally, Miquel Barceló (1957), with the gestural and expressive portrait of an orangutan, exposes in the company of the controversial and effective Ai Weiwei (1957) (Neugerreimschneider/Elvira González, 9C01/9B02), while Julia Spínola (1979) and Katinka Bock (1976) share the concern for the expressive possibilities of materials (Meyer Riegger/Ehrhardt Flórez, 9b03/9b05).