Diego Santomé, Vidriera #1 (Stained Glass #1), 2011, lead, glass, 33 1/2 x 23 5/8".

Diego Santomé

Parra & Romero | Madrid

Diego Santomé, Vidriera #1 (Stained Glass #1), 2011, lead, glass, 33 1/2 x 23 5/8".

Two years ago Diego Santomé curated an exhibition at Parra & Romero titled “La Importancia del Pez Cebra” (The Importance of Zebrafish), a group show exploring the pertinence of a potential connection between the art of the 1960s and contemporary sculptures based on austere and everyday materials with human scale and down-to-earth ambitions. What was particularly striking then, as it is now in his recent solo exhibition, “Nuevas visiones desde el Congo” (New Visions from Congo), was the exoticism of its title. What’s all that about? Santomé has never seemed much interested in geopolitical or anthropological issues. Yet this show opened with a small Polaroid, Kongo, 2011—an aerial view of the river—placed on a white shelf in the gallery window.

A further look revealed that the artist is interested in Congo as a metaphor for its peripheral geographical situation. In fact,

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