Pablo Llorca

  • Pedro G. Romero, Archivo F.X.—L’Argent (Archive F.X.—Money), 2010, DVD, monitor, blank DVDs, plastic envelopes, covers. Installation view.

    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, Family Volvo, 2010, ink on paper, 15 x 22". From the series Ejercicios de memoria III (Memory Exercises III), 2010.

    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

  • Juan Zamora

    In looking at the drawings of the young Spanish artist Juan Zamora, one could easily think that comics are a major source of inspiration for his schemes of figures, forms, and situations. Yet on the occasion of this exhibition, Zamora has stated that he is neither drawn to nor an avid reader of comic books. If comics are not a direct influence for him, one must conclude that the language of that medium has become so pervasive that, for many artists, it is not even necessary to pay any serious attention to them to undergo their influence. In any case, Zamora’s earlier drawings, often composed

  • Lara Almarcegui

    Broadly speaking, Lara Almarcegui’s work can be divided into two areas: her public actions (often performed under the umbrella of a biennial or other event), which involve situations or tasks that take place in a common space, sometimes before or even in collaboration with an audience; and her photographic and written archive-related work, which is usually exhibited in galleries or released in publications.

    The actions Almarcegui has carried out in her fifteen-year career include digging a hole in an empty lot in Amsterdam (Digging, 1996), painting several huts in Turin, Italy different colors

  • José Manuel Ballester

    For José Manuel Ballester, the relationship between painting and photography has always been ambivalent yet intimate. Early in his career, the artist formulated two different and largely unrelated bodies of work. His paintings demonstrated a desire to connect to the great European pictorial tradition (that, thanks to the Prado Museum, is so accessible in Madrid), and they betrayed a certain romanticism that has remained with Ballester to this day. In addition to the paintings, however, he also undertook photographic projects, which concerned specific sites in Madrid, including the Royal Theater

  • Guillermo Pérez Villalta

    Though he has faithfully practiced painting for thirty-five years, Guillermo Pérez Villalta considers himself a conceptual artist. Painting is, for him, the simplest and most direct way to convey ideas about art, representation, and the task of the artist. Often involving sophisticated references and allusions that are difficult to unravel, his work has always attempted to balance intellectual games with sensuality; his paintings, one might say, possess a thoughtful beauty. Pérez Villalta often writes incisive texts to accompany his shows, and in his essay for this most recent exhibition, he