As Bonacci himself said: the present time places us today in front of a seemingly impassable wall. At the foot of that wall, art, driven by desire, flies armed with a bow and arrows, like a winged Eros, looking for good and beauty. From this poetic and aesthetic premise, Bonacci, with his small mysterious and suggestive forms, invites us to go into another ideal dimension, where the noise of the present time does not fit and the superficial, anecdotal events of the present are completely excluded.
Text by Nicola Mariani, art critic and independent curator.
The French expression mise en abyme (abyss) is a rhetorical figure consisting of imbricating a narrative within another of the exact or similar theme. The strength of this resource has made it transfer from literature to both visual and performing arts.
Painted or written history, both frame the myth, its representation. "A window open to history", as Leon Battista Alberti would define “the painting is a transparent window through which we look at a section of the visible world”. A cut veil turned into surface to find its barriers.
The continuous change, the constant movement, the adjusted rhythm.
We occupy space and we occupy time. We thrive in habitats with very precise rhythms. Everything is in constant transformation.
Light tells us about time. Our self, being a reflection of the other, composes a personal identity based on our own and the collective, establishing our own rhythms, delimited habits.
Hyper Natura is a journey through the topics that Luna Bengoechea investigates, with the intention of being more aware of what we are doing with the nature that surrounds us. She questions the current food system and the contradictions of the market. She emphasizes the problems generated by global and intensive production, causing serious environmental impacts. Luna seeks references in the classics of art history, from which she contextualizes the relationship of human being with food and nature – especially the genre of still life or botanical illustrations.
Pareidolia, describes a vague and random stimulus normally represented by an image that is perceived in a recognizable way. Just like we look for concrete forms on the silhouettes of the clouds that are molded by nature in the geographical features, Oliver Czarnetta uses this search to show the viewers different works in which an active observation is defining to provide them with meaning.
On this occasion, the catalogue includes a text written by Nicola Mariani, art critic and independent curator.
Under the title material singularity, Toshiro Yamaguchi, Japanese artist residing in Spain presents his most recent works in which he shows a meditated search for material purity. Color, the predominant value in many of his works, takes on special relevance on this occasion, since Toshiro adds in this exhibition the opaque sonority of the pigments and the use of pure color, which intensifies the visual vibration.
This pair of artists elaborates their proposals with a performative component and an experimental character. They create their works from any discipline and plastic medium, such as installation, performance, video, sculpture or painting, to take advantage of the different aesthetic and formal possibilities that they offer them. Their work goes through a hybridation of the media, treating the problems of painting from sculpture and vice versa; always having a predilection for installation processes and site-specific interventions.
Alicia Martín creates a work that is just the perfect synergy between art and literature.
It is intuited in her a reader who enjoys reading since childhood, who feels comfortable between books and makes them partners in the most interesting trip, the journey of life.
Each copy read is part of her being, building, one by one, a language, an essential tool of talent that an artist needs to create. The printed words in them make up her own artistic language by inventing the "metalanguage".
Salustiano's work is based on the depth of the spirit and the superficiality of human passions. It offers us the portrait as a reflection in which to search among our emotions, he is clear to deprive his work of his personal sensible load in order to provoke a reaction in the observer. And he succeeds in getting us to dive in the most hidden waters of our being in search of the memory that leads us to that moment of our life in which our animus was illuminated with the same feeling that is inspired by staring at each portrayed figure.