SCOPE Miami 1
collective
12 - 15 junio 2014
Earls Court Exhibition Centre, Londres
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PARTICIPATING CREATORS
Sotomayor is interested in the intersection between biology and technology, focusing his projects and research on theories about the evolution of consciousness and cognitive processes, the extension to new dimensions such as cyberspace and virtual reality, as well as advances in exploration. of the subatomic world, quantum physics, genetic engineering and the derivations of all this on the development of life and artificial intelligence. His scientific spirit does not dispense with a fundamentally poetic approach: it allows us to see a metaphor for the subconscious submerged in an environment of infinity, of the eternal, in which consciousness becomes a cog in the gear between the microcosm and the macrocosm.
His work has obtained various awards, such as being selected in the Tentaciones 08 call promoted by Estampa, the 2008 Award for the best emerging artist from the Madrid Association of Art Critics, a residency grant at the prestigious French institution Casa de Velázquez in Madrid, a grant from training and production at the Pilar i Joan Miró Foundation in Palma de Mallorca, production prize in the Photographica 09 competition.
His work has been exhibited at art fairs such as SCOPE (Miami), ARTEBA (Buenos Aires) and ESTAMPA (Madrid), as well as at international festivals specialized in video and digital creation such as FILE (Sao Paulo), ZOOM IN (Zamora), OPTICA (Paris, Madrid, Gijón) and LOOP (Barcelona). He has recently been invited to participate in the MANIFESTA 8 European Biennial of Contemporary Art, within its program of parallel projects, with a solo exhibition at the Centro Párraga in Murcia.
L'architecture des arbres is composed of a series of 4 photographs taken of different installations created in different spaces of the Cité International de Paris building. In this way, I establish, through them, a game with elements of nature and architectural structures, thus proposing a scenery where, in a subtle way, as if it were the line of a drawing, nature is introduced into the structure.
Through the figure of the tree, its irregular branches -formless and organic lines-, one penetrates into a cold and distant architecture. The tree is, likewise, manipulated, its shape is due to the whole that surrounds it, that invades. In this way, nature generates a conviction that contrasts with the solidity of the structure. A relationship between them is then established, silent, subtle, an almost painless incision.
The work of Jesús Zurita hopes to have the viewer as a companion for a walk through environments and moments in which getting lost is as easy as it is logical. The views offered are subjected to the light of a cowardly, hidden, filtered and multiplied sun that erases our shadow on the road and disorients us, leaving us almost blind. We know that there is a sun because of its ardor, we know about the terrain because of the stumbling blocks and the attacks of what awaits us in blindness; we know about the landscape because of the fear of what we cannot control, absolute otherness that curves so that we return again and again.
They are technically very simple works: ink and old brushes to present this walk without searching but full of encounters. The white that is the background of all these works is the solar plenitude of everything that surrounds us, partially revealing itself according to the steps we take. We will never pass through the same place twice, although we will always wander in the same environment. And we will always find fragments that will inevitably convulse into scenes.
These scenes lack history. His time is a continuous present as sharp as that of suffocation. We must adapt to them without impositions or prejudices; participate in its shadows and echoes to stumble, prick us and skin us with its twisted vegetation. Obligation and right of every witness, they are shown to us to observe them but above all to remember them. We skip the fact of understanding, of delimiting an accommodative perimeter that is useless. We tried to apprehend in the purest way possible. I mean placing these scenes directly in our memory, home in which we really are. Where we can understand life and the one we attend to with each breath. Lugar where the fact is experience before magnitude. Without judgment. Because in these scenes, in these environments traced by our erratic pace, we are witnesses of necessity and its bubbles. Despair blows over us all, twisting trees and burning us while we are still covered. And cruelty, suddenly, is justified in these moors... "there is no other choice" is carved into the rocks. What is vital for survival melts with hungerless bites in some dark corners. And smiles a little rotten. The pleasures, still deformed into twisted pinches, remain as the rhythm for our pulse.
ANDhe dream of the king (of the republic) tells the story of an anonymous king who for some time now has dreams that disturb him; in them he sees himself as a shepherd, as a free man in full communion with his cattle and with nature. This is how our protagonist realizes that he really dreams of being "another", an "other" much more faithful to himself, more authentic, true and free. Our king dreams of owning his life and destiny; she dreams of freeing herself from heavy gold chains, which, although they may appear to be immensely beautiful, deprive her of her inner beauty. The old king rejuvenates in his sleep, putting his sore body back together between the bleating of his rams. Although he continues to maintain command –since he guides his flock just as the king guides his subjects–, the human being that he discovers in his reverie moves driven by the tranquility of the immaterial, of the elemental... His roof is the satin and his bed the earth itself.
PSJM formalizes this new work strictly adhering to the materials of the painting. In a more or less explicit way, reflection on painting has permeated the career of this team.
Despite the handmade nature of these paintings, the precision and cleanliness of their workmanship resemble the relentless hand of the machine. The primary industrial colors are drastically applied following radical compositions that take the figure of the angular triangle as the dominant element. Away from any decorative pretense, these “readable paintings” suggest a harsh reality that has been objectified by the flow of impersonal information. Data and colors that hide personal dramas, dominant ideological tendencies, social discontent.
Interdisciplinary creator and critical thinker who has focused his work within the framework of research and contemporary artistic creation. He has exhibited his projects in numerous countries such as the United Kingdom, France, Germany, Portugal, Belgium, Korea, Argentina, Switzerland and the United States. His work has participated in numerous international contemporary art fairs as well as being present in important collections of museums and public and private institutions.
It is also worth noting his critical and managerial work in the production of different events related to art and contemporary thought.