MEMENTO
Luis Quintero
7 mayo - 6 junio 2009
Calle Alameda 18, Madrid
 |  Maeternidad2007, Bronce y mármoles, 41 x 19 x 22 cm |  Maeternidad2005, Terracota polícroma, cemento hidráulico y mármol, 56 x 19 x 26 cm |
|---|---|---|
 La muerte por delante2006, Terracota polícroma, madera, mármol y cemento hidráulico, 168 x 24 x 24 cm |  P.U.T.A2004, Terracota polícroma y madera, 33 x 39 cm |  P.U.T.A2004, Bronce, madera y cristal, 33 x 39 x 40 cm |
 Recordando a Magritte2008, Terracota polícroma, cemento hidraúlico y mármol, 60 x 40 x 40 cm |  Dog-man1998, Terracota policroma, óleo y madera, 18,5 x 62 x 62 cm |  El autosuficiente2009, Terracota polícroma y madera, 24 x 24 x 48,5 cm |
 Eva2008, Collage y grafito sobre papel, 28 x 36 cm |  La expulsión del Paraíso2009, Bronce polícromo, latón y madera, 20 x 53,5 x 53 cm |  Ningún Animal Cambia Este Ritual (N.A.C.E.R.)2006, Mármol y acero corten, 150 x 50 cm |
 Tú y yo2004, Bronce y acero corten, 100 x 100 cm |  Edipo y la esfinge2006, Terracota policroma y madera, 90 x 76 x 25 cm |
"Memento" Luis Quintero
Under the title "Memento" (remember in Latin) Luis Quintero (Cádiz, 1963) brings together his sculptural production carried out between 1998 and 2009.
As usual in his work, Luis Quintero presents on this occasion a sculptural work of classical tradition and great workmanship that mixes different materials such as ivory, wood, bronze, terracotta, etc..._cc781905-5cde-3194-bb3b- 136bad5cf58d_ Materials that he deals with as a craftsman at the service of knowledge, a fundamental principle in his work. A knowledge that is identified with life and that symbolically resides in the head (receiver of both knowledge and the human soul) hence the important presence of that significant part of the human body in the sculptural production of the artist from Cádiz._cc781905-5cde- 3194-bb3b-136bad5cf58d_ Examples of this are: Maeternity, BORN, Death ahead, remembering Magritte, etc…
Quintero, in the same way, ironically and relentlessly addresses aspects and human attitudes through fables and symbols; this is the case of Oedipus and the Sphinx, Contraesop, the deluded, table for princesses, etc… This use of symbolic language allows the artist an ingenious communication that invites the viewer to investigate the work looking for the vestiges of its meaning, often polysemic, which invites reflection and attention.
The use of acrostics in a large number of pieces gives the artist the possibility of giving each work different readings, through a simple and direct game with whoever faces his sculptures. This mix of games , irony and references to other sources of knowledge such as science, religion, poetry, etc... makes the work of Luis Quintero attractive and disturbing, scathing and forceful.
In the words of FM Cano: “Luis's work is not transitory, he does not speak of the instant but of general laws of a global moment, of what is valid forever. It is a thoughtful and meditative work. Without doctrinal preteritions because it brings us closer to both the definitive finding and the eternal doubt.”