Pablo Llorca

  • Francisco Ruiz de Infante

    Francisco Ruiz de Infante is among the best Spanish artists working with moving images. As a teenager in the mid- to late 1980s, he was already making Super 8 films that evidenced his inclination for textured images, which he created with exquisite and striking attention to detail. While Ruiz de Infante’s connection to moving images has been steadfast, he moved to Paris in 1991 to study with Christian Boltanski. Since then, a sense of the theatrical and a deep feeling for material have entered his work.

    For two decades, his production has brought together what he calls “clean images”—meaning

  • Bleda and Rosa

    Some twenty years ago, artists María Bleda and José María Rosa first earned public recognition for a very simple and evocative series of photographs titled “Campos de fútbol” (Soccer Fields), 1992. For all the images in this series, the pair used a similar compositional strategy to show empty spaces rich in associations. Their practice has remained fundamentally the same ever since: serial works, images of spaces seen from a distance, a certain neutrality, a primary focus on landscape. Drawing inspiration from the Bechers, Bleda and Rosa focus on the evocative power of any place that has a unique

  • El Roto

    Though almost a stranger to the art world, El Roto is one of the best-known draftsmen in Spain. For more than forty years, he has contributed to a number of publications, among them El País, the country’s leading newspaper, for which he publishes illustrations on a daily basis. On the art scene—in which his participation is recent and sporadic—he signs his paintings with his real name: Andrés Rábago.

    El Roto is not the only pseudonym Rábago has assumed. As early as the 1970s, he used the name OPS to sign drawings with a Surrealist iconography and spirit that delighted readers of the

  • Paz Errázuriz

    The exhibition “Cuerpos” (Bodies) brought together two series of Paz Errázuriz’s photographs—“Tango,” 1986, and “Cuerpos,” 2002—with a nine-minute video piece, El sacrificio, 1989–2001, the only work she has produced in that medium thus far. The Chilean artist early in the 1980s and ’90s focused on portraits of people on the margins of society (the insane, the homeless, transvestite prostitutes, boxers, circus people, and so on), and these origins have continued to influence her even as her practice has evolved to encompass subjects more fully integrated into society. “Tango,” for

  • Wilfredo Prieto

    Wilfredo Prieto is mostly known for his sculptures, installations, and performances, but, like most other artists, he has also produced a good many drawings over the course of his career, many of them related to his better-known work. Although his drawings have occasionally been included in his exhibitions, “Café hecho por Di” (A Coffee Made by Di) was the first to focus on them entirely. This show included 150 small untitled drawings (some of them dating as far back as the Cuban artist’s student years, others quite recent) and a single vast one, some thirty feet long. What stands out more than

  • Patricia Gadea

    Patricia Gadea died in 2006 at the age of forty-six. Though she was fairly well known in the 1980s and early ’90s, her late work has been seen only occasionally—owing, perhaps, to changes in the style of her work and her decision to distance herself from the art world by moving to Palencia, a small city in the north of Spain where she supported herself by giving art lessons to children and caring for the elderly. Her recent exhibition in Madrid, “Patricia’s War,” was the first in six years. Though not a large show, it encompassed more than twenty years of production, from 1984 until her

  • Luis Úrculo

    Ensayo sobre la ruina” (Essay on the Ruin) is the title that encompasses a number of proposals created by Luis Úrculo to address a simple problem, one that is unfortunately more timely than it may seem: the relationship between a ruin and the order that precedes it. Though the foundations of Úrculo’s thinking are in architecture—indeed, he has a degree in that field and it continues to visually and conceptually bind together his multiple endeavors—he makes use of all possible visual media (drawing, photography, video, sculpture, and more) in his work. For example, the drawings Colapso

  • picks August 03, 2012

    Gabriele Basilico

    In this exhibition, twenty-four of 350 photographs by Gabriele Basilico are exhibited alongside Piranesi etchings of the same sites. The result is a rigorous documentation that formulates a comparative cartography of Rome in the eighteenth and then twenty-first centuries. The differences lie in the details, as comparisons between the respective renditions suggest that the sites have hardly changed over the centuries: A side building might have been added or a set of lush trees grown on the lungotevere. Nevertheless, Basilico sets out to oppose his images to those of Piranesi, as if to allow the

  • Angus Collis

    It is becoming less and less common for galleries to show the work of younger artists who entirely and unapologetically focus on painting. Perhaps it’s that fewer and fewer young artists paint without pursuing some other rhetorical agenda; instead, they attempt to endow the act of painting with metalinguistic meaning or, though engaged in painting, simultaneously deny it as a medium. And, of course, there is an abundance of young artists with an indirect relationship to painting—for instance, artists who draw, sometimes in color. An artist from New Zealand who now lives in Spain, Angus

  • Antonio Ballester Moreno

    The question of the relationship between children’s art and that of adults has long interested Antonio Ballester Moreno. At a previous exhibition here, titled “No Future,” he showed drawings he himself had made as a child. The background to “No School,” his most recent show, was a workshop that Ballester Moreno gave, in which participants attempted to do away with learned technique and acquired sophistication in order to make something much simpler, something more akin to the art of children.

    “No School” featured the pieces made by participants in the workshop along with a single sculpture. Just

  • Vanessa Winship

    As simple as it was efficacious, August Sander’s approach to photography in his encyclopedic series “People of the 20th Century” is a model whose influence continues to be felt. It is not hard to detect its impact on the British photographer Vanessa Winship’s series “Sweet Nothings: Rural Schoolgirls from the Borderlands of Eastern Anatolia,” 2008, which was published as a book in 2009. Like Sander’s work, Winship’s portraits take a frontal approach and maintain a uniform distance from the subject; the human figure is presented straightforwardly and within his or her everyday environment. Thus,

  • Alejandra Roux

    The work of Alejandra Roux, an Argentine artist who has lived in Madrid for twenty years, makes clear her ongoing belief in the narrative and emotional potential of painting. Based on the story by the Brothers Grimm, her recent exhibition “Hänsel & Gretel” evoked the sexually charged fear and violence that, as Bruno Bettelheim ascertained long ago, underlie many childhood stories. Phallic and vaginal metaphors abound, and eroticism is one of the unequivocal drives in this work; it is felt in objects not usually associated with the erotic (like the stole around the neck of the lady in La madrastra

  • Pedro G. Romero

    Archivo F.X. (Archive F.X.) is an ongoing project that Pedro G. Romero has been developing since 2000. It involves the recompilation, reorganization, and presentation of various sorts of archives, mostly related to contemporary Spanish history. The project is driven by Romero’s interest in establishing parallels between the tradition of iconoclasm and Spanish political heterodoxy in general, on the one hand, and radical avant-garde art practices, from Malevich to the Situationists, on the other. Though this intention is not always clear in the work itself, it is crucial to Romero’s long-standing

  • Tamara Arroyo

    Better than any of Tamara Arroyo’s exhibitions to date, “El arte de la memoria” (The Art of Memory) summarized her concerns as they are expressed in drawing. The title correctly posits memory and its relationship with artistic representation as the focal point of her work. Although her oeuvre is polymorphic (Arroyo has also used photography, architecture, video, and so on), it finds in drawing a precise medium for formulating analysis and venturing suggestion. The artist herself has no doubt about what she wants to intimate; for more than a decade, her work has involved the recovery of her past

  • Adriana Lestido

    Amores difíciles” (Hard Loves), a retrospective comprising 162 images by Argentine artist Adriana Lestido, shows one possible evolution of the work of a professional photographer in these times. Lestido trained as a photojournalist, and for many years she worked for newspapers and photography departments of news agencies. Owing to the success of her first several series—e.g., “Hospital infanto juvenil” (Children’s Hospital), 1986–89, and “Madres adolescentes” (Teenage Mothers), 1989–90—she made a name for herself in the Argentine photography scene. The primary concern of those series, as well

  • Amaya González Reyes

    Can a work of art participate in that which it sets out to criticize without losing legitimacy? In “Una idea brillante y otras historias adorables” (A Brilliant Idea and Other Adorable Stories), Amaya González Reyes takes up this quixotic question, exhibiting a group of pieces that satirically treats certain aspects of contemporary art from a position surprisingly close to the object of her mockery. Almost all these works are made in materials treated to look like gold: a polished bronze pedestal for a sculpture on which its title, Valgo mi peso en oro (I Am Worth My Weight in Gold; all works

  • “The Schizos of Madrid”

    "Los Esquizos de Madrid. Figuración madrileña de los años 70” (The Schizos of Madrid. Madrid’s Figurative Movement of the 1970s) was an attempt to analyze the creative work of a group of painters who, bound by friendship and shared artistic concerns, worked in Madrid in the 1970s and early ’80s. Well known in Spain at the time, they are now largely unknown to a younger art public. Most of the artists in the group were born around 1950; some have died (Carlos Alcolea, Rafael Pérez Mínguez, Javier Utray), some are still quite active (Luis Gordillo, Guillermo Pérez Villalta), and others less so (

  • “Asymmetries and Convergences”

    Asimetrías y convergencias” (Asymmetries and Convergences) was a group show, organized by María Iovino, of nineteen young Colombian artists who draw. According to Iovino, an independent curator in Bogotá, drawing has been the richest medium in Colombian art in recent years, and here she attempted to demonstrate its breadth as well as its investigation of the traditional concerns of the medium.

    The exhibition’s text suggests, though, that the main idea was the blurring of media and disciplinary boundaries rather than drawing. This is borne out, for example, in Adriana Salazar’s Máquinas maleducadas

  • Sara Ramo

    The video On the Move, 2009, shows someone taking objects out of a seemingly endless suitcase that seems to have room for everything. Placed like a visiting card at the entrance to Sara Ramo’s exhibition at the Jardín Botánico, this work served as an introduction: It encapsulates the evocative power of Ramo’s images, as well as her playfully metaphorical use of objects and materials.

    Born in Madrid, where she studied at the School of Applied Arts and Crafts, Ramo later moved to Minas Gerais, Brazil, and continued her studies there. This was her first solo exhibition in her native Spain, and it

  • Santiago Sierra

    Santiago Sierra’s art often involves a group of people whose actions in the context of the work have—or should have—moral consequences. Economic necessity is almost always the reason that people agree to perform tasks that, to varying degrees, humiliate them: They consent to be locked in a ship’s hold, to be tattooed, to shine the shoes of the visitors to an exhibition, and so on. The underlying concern in these projects is the ethics that viewers and artists bring to bear on art, a field with moral standards that appear to be different from those of other fields. What in another sphere would