UNTIL SUNDAY 11/9
CARME CENTER. Museum, 2
This exhibition of Contemporary Art by the Generalitat Valenciana is always interesting per se, to be a showcase for the art that is being made in our territory, but it has an added strategic value as a dynamizing gear for art as an industry within our borders. The idea arose in 2017 in a conversation between the director of the Consortium of Museums, José Luis Pérez Pont, and the former Minister of Culture Vicent Marzà, where the articulation of a system that would allow the artists and galleries of the Valencian Community to muscle. Com? Buying works from them that would become part of a public collection of contemporary art. Rich in Noises and Benlliures, but lacking in art that is made here and now. Support for artistic production - not just the exhibition, that also— that is propitiating, for example, which foreign galleries incorporate Valencian artists on their payroll. The committee of experts has chosen this year the work of 19 artists seeking an ever-expensive balance, bearing in mind that parameters such as gender equality are valued—indispensable—, the balance between communities, the representation of different generations and the plurality of languages and formats. Photograph, paint, sculpture, waterfall, drawing, installation and video is what you can find in this fifth edition where nature is one of the main protagonists.
The oriolan route begins Ricardo Cases with a series of small photographs that capture the particular idiosyncrasy of our corner of the world plagued by orange trees. The millimeter detail of the watercolors of Manuel Saez who study the psychological charge of color, large format photography Raúl Belinchón he draws black and rusty geometric shapes from slate walls in Les Hurdes—where Luis Buñuel shot the controversial short film land without bread—, and the pink salt flats of Santa Pola (color they take in summer) painted with natural pigments and marmolina María Dolores Mulá take the first tram. Then will come a sculpture of modulated steel rods that plays with light and shadow (Robert Ferrer i Martorell), plasticine marble jars (Maria Zarraga), and the sequence of images that result from emulsifying eleven cyanotype papers and placing them, every hour, bottom of a cup with the intention of recording the movement of the earth (Clara Sánchez-Sala). We leave the big one for the end Pamen Pereira —the one that previously occupied the room with a solo exhibition— and her sculptural installation of two scaly high-heeled shoes with wings that evoke female empowerment. There is much more, go find out! S.M.
