CARME CENTER. Museum, 2
Last year there was a remainder in the culture budgets of the Generalitat Valenciana and the department of the branch launched an initiative with a vocation of permanence initially planned for this year, the incentive plan for the acquisition of works of art by Valencian creators. With less time than desired, the purchases that we see today displayed in four rooms of the Center del Carmen were agreed upon, 33 works acquired by the administration with the intention of building a collection of contemporary art from the Valencian Community while offering support to galleries and visibility to artists. They have sought a territorial and gender balance, but there has been no thematic or generational criterion, so that the works selected are a sample of the concerns that move our artists today. We present some of the ones that impressed us the most.
In the Refectory room, dedicated to time and memory, the journey begins with the series on exiled thinkers (Benjamin, Valente and Joyce) d’The Oterge Dear Fund, and continue with the photographs of Bleda and Rosa, the gold thread of the very delicate woven painting of the Carcaixentina Anna's speech (a weakness) and the women poets who have been immortalized in the installation of paloma navares. The Carlos Pérez room, dedicated to the frictions between the everyday and the technological, contains work d’Olga Diego, a very rudimentary hot air balloon that can lift us into the sky to save us from imminent danger; i d’Ernesto Casero, nine drawings under the typography of National Socialism that reflect on the human destruction of the animal world. The dirty ones 1 i 2 reflect on the individual-society binomial from pieces of Mar Arza, that makes bank documentation poetry; o Agustín Serisuelo, which recreates a landscape of ruins of half-built properties left us by the bursting of the real estate bubble. The urgency of a culture of sustainability is also discussed through the works of Nelo Vinuesa, who with his polyptych of geometric shapes reformulates the pictorial genre of the landscape; Hugo Martínez-Tormo, which makes us hate plastic bags even more using the unpleasant noises they can make; i Inma Feminine, closing the itinerary with screens facing the wall that project luminous auras of Rothkian colors to appeal to the critical consciousness of the converted citizenry, inevitably, in digital user. S.M.
