Anatxu Zabalbeascoa

  • José Manuel Ballester

    José Manuel Ballester’s paintings depict contemporary ruins. The spaces portrayed by Ballester are nostalgic without ever succumbing to the romanticism of the ruin as esthetic object. Images of contemporary society, these photographs map a territory as deserted as cold urban landscapes, as old as the urban grid. Though the places depicted by Ballester are scenes from both Madrid and Barcelona, they could be of any metropolis since what they depict is desolation, but desolation with a distant, monumental quality. Ruins in the etymological sense, they are remains, and the tragedy is that they are

  • Susy Gómez

    This untitled installation by Susy Gómez examined perception, knowledge, and feelings, carefully, almost modestly. Subtle and timid, her work is very attractive, almost erotic. It reflects an urgency to communicate even though the process of communication seems to be both painful and difficult for the artist. It reveals her internal struggle as well as her determination to work from her own feelings, thoughts, and nature. The way the viewer sees the show—little by little, piece by piece—creates a very intimate, almost tactile, experience, as if, very slowly, someone were beginning to undress.

  • Guillermo Kuitca

    In a country where the work of most artists seems to have absorbed a foreign discourse or theory rather than developing its own, Guillermo Kuitca is a major exception. Kuitca, once the child prodigy (as obsessively portrayed in many of his previous pieces) has coherently and yet paradoxically exhausted his life in his work. This show included a comprehensive view of his oeuvre from his first paintings—crucially influenced by Pina Bausch’s dance theater—to his most recent works, which included a specially designed installation in which many small cradles, with mattresses on which maps had been

  • Joan Fontcuberta

    Throughout his already long artistic career, Joan Fontcuberta has researched the nature of photography by photographing nature, investigating and questioning the supposed limits of various related concepts: nature and artifice, the object and its representation. He has explored the importance of photography as a document, as a visual proof in Western society where “seeing is believing” and he has gone further to question what happens if what we see is not true. Fontcuberta has equated photographic truth with cultural conventions and expectations that act against our real perception of facts and

  • Frederic Amat

    Time is movement; it represents the possibility of restraining and observing, of freezing an instant, both chronologically and physically, resulting in the material view of a solidifed object, a blocked image, and the expectation that derives from feeling that it could, and should, dissolve. Fluids and liquids are, after all, the image of constant movement: another version of the intangible theme of time. Containers can be open and, therefore, imply penetration and transgression in an endless search for the essence of time and being. These have been Frederic Amat’s themes since he began his own

  • Begoña Egurbide

    During the ’80s in Spain, artists could be roughly grouped according to the formal and conceptual characteristics that defined their work. There were those artists who tried to connect with the North American avant-garde, and used it as a reference point while projecting local political or social concerns. Their work, converted into a political weapon, denounced, or parodied Spanish society, Spanish history, and the lack of willingness to confront or analyze it. A second group, comprised of artists who still held to the unfashionable “art for art’s sake” credo, focused on their work, which

  • Tom Drahos

    Although he considers himself a photographer, Tom Drahos uses almost any medium in his work: sculpture, photography, video, painting, and film. He has been one of many artists to liberate photography from the conventions that limit it to representation, and he has tried to replace and substitute the familiar representation with a conceptual significance. Originally from Czechoslovakia, Drahos left Prague after the 1968 revolution. He then moved to Paris, and after a 22-year absence returned to his native city to photograph everything he saw, every route he followed, and everyone he met, stubbornly

  • Charo Pradas

    Like a magnified microorganism that is also a microcosm, Charo Pradas’ circular, con-centric figures incorporate and summarize all living matter. The viewer is fascinated by the endlessly related forms ranging from a butterfly with infinitely multiplied wings to a bunch of grapes or cherries, a broken molecule, a deep, dark hole, cells, an endless spiral inside an empty sponge, bacteria, ovaries, etc. An evolving volumetric ground is united by the threat the theme creates; shapes and connections ironically figure the growth of the world, the big bang.

    Mathematics is reduced to arithmetic; primitive