Alvaro Negro

  • View
    213

  • Download
    0

Embed Size (px)

DESCRIPTION

Artist portfolio

Transcript

  • LVARO NEGRO

  • LVARO NEGRO

    Laln, Espanha, 1973Exposies individuais seleco: Natureza! Ests Soa? (Sala Municipal de exposies de Palexco . A Corua, Espanha, 2011), Abro a xanela e respiro o Aire fresco da fin do mundo (Carpe Diem Arte e Pesquisa. Lisboa, Portugal, 2010), Reflexos Hbridos (Carlos Carvalho Arte Contempornea . Lisboa, Portugal, 2007), Arquitectura de sons infraleves (Galeria Mrio Sequeira . Parada de Tibes, Braga, Portugal, 2006), Exposies Colectivas seleco: La Coleccin (Fundacin Barri . A Corua, Espanha, 2011) VIII Edio do Concurso Bienal de fotografia Purificacin Garcia, (Museu da Cidade. Lisboa Lisbon, Portugal, Palcio de Cristal. Porto, Portugal 2011)89 Km. Coleccin CGAC (Comissariada por Virginia Torrente, Marco, Museo de Arte Contempornea de Vigo . Vigo Espaa; CGAC, Centro Galego de Arte Contempornea . Santiago de Compostela, Espaa 2010) La pieza que falta (comissariada por David Barro, Factoria Compostela . Santiago de Compostela, Espanha, 2010), Ressonncia Visual (comissariada por David Barro, Paos da Cultura . S. Joo da Madeira, Portugal, 2010), Becas de creacin artstica en el extranjero 07 (MACUF Museo de Arte Contempornea Unin Fenosa . A Corua, Espanha, 2009), En Construccin 2 (Fundacin Pedro Barri de la Maza . Vigo, Espanha, 2009) Teleprompter. Novas Camuflaxes do pictrico (Centro Torrente Ballester, Ferrol . A Corua, Espanha), Puntos de Luz (Fundacin Barri de la Maza . A Corua, Espanha), Antes de ayer y passado maana; o lo que puede ser pintura hoy(Museo de Arte Contemporneo Union Fenosa Macuf . A Corua, Espanha, 2009), ParangolMuseo Patio Herreriano . Valladolid, Espanha, 2008.

    lvaro Negro, S/ ttulo, 2010, Enamel on aluminium, 86 x 56 cm

    Laln, Spain 1973Solo shows selection: Natureza! Ests Soa? (Sala Municipal de exposies de Palexco . A Corua, Spain, 2011), Abro a xanela e respiro o Aire fresco da fin do mundo (Carpe Diem Arte e Pesquisa. Lisbon, Portugal, 2010), Reflexos Hbridos (Carlos Carvalho Arte Contempornea . Lisbon, Portugal, 2007), Arquitectura de sons infraleves (Galeria Mrio Sequeira . Parada de Tibes, Braga, Portugal, 2006), Group shows selection: La Coleccin (Fundacin Barri . A Corua, Espanha, 2011) VIII Edio do Concurso Bienal de fotografia Purificacin Garcia, (Museu da Cidade. Lisbon, Portugal, Palcio de Cristal. Porto, Portugal 2011)89 Km. Coleccin CGAC (Curated by Virginia Torrente, Marco, Museo de Arte Contempornea de Vigo . Vigo Espaa; CGAC, Centro Galego de Arte Contempornea . Santiago de Compostela, Espaa 2010) La pieza que falta (comissariada por David Barro, Factoria Compostela . Santiago de Compostela, Spain, 2010), Ressonncia Visual (Curated by David Barro, Paos da Cultura . S. Joo da Madeira, Portugal, 2010), Becas de creacin artstica en el extranjero 07 (MACUF Museo de Arte Contempornea Unin Fenosa . A Corua, Spain, 2009), En Construccin 2 (Fundacin Pedro Barri de la Maza . Vigo, Spain, 2009) Teleprompter. Novas Camuflaxes do pictrico (Centro Torrente Ballester, Ferrol . A Corua, Spain), Puntos de Luz (Fundacin Barri de la Maza . A Corua, Spain), Antes de ayer y passado maana; o lo que puede ser pintura hoy (Museo de Arte Contemporneo Union Fenosa Macuf . A Corua, Spain, 2009), ParangolMuseo Patio Herreriano . Valladolid, Espanha, 2008.

  • lvaro Negro, S/ ttulo (da srie Abro a xanela e respiro o aire fresco da fin do mundo), 2007/9, Lambda print on kodak endura paper, 6 (44,7 x 25,15 cm)

  • lvaro Negro, S/ ttulo (da srie Abro a xanela e respiro o aire fresco da fin do mundo), 2007/9, Lambda print on kodak endura paper, 5 (44,7 x 25,15 cm)

  • lvaro Negro, S/ ttulo, 2007, Enamel on aluminium, 100 x 357 cm

  • lvaro Negro, S/ ttulo, 2007, Enamel on aluminium, 100 x 300 cm

  • lvaro Negro, Las sombras mendigas del escenario de Alex Zika , 2004, Lambda print on aluminium, 4 (80 x 100 cm)

  • lvaro Negro, S/ ttulo, 2010, Enamel on aluminium, 86 x 56 cmlvaro Negro, S/ ttulo, 2010, Enamel on aluminium, 86 x 56 cm

  • DIGRESSIONS ABOUT A SLOW PAINTER. A TALK TO LVARO NEGRODavid Barro

    On first appearances, lvaro Negros career would seem to be a gathering of influences, a work full of bends, fissures and movements in new directions. It is so if we pay attention to certain formal aspects, but actually this supposed profusion of ideas and resolutions may be solved considering a few obsessions, which are finally optimised through a wide knowledge of the history of the art world, going back in many cases to its very origins.In particular, I would like to define him as a slow painter. He is able to hide the details to give us a world based on minimum, an opening which reveals his concern about the nuance and the almost imperceptible things arising whenever the viewers contemplation becomes intense. Therefore, in many cases it shows a certain monotony that is, at least, intentionally creating another way of seeing, of feeling; other kind of perception where the attitude that arises from its creation is more important than the place. Sometimes, lvaro Negro plays at dissecting the movement never completely changing the time in order to freeze the highest tension, the pin of light. This condensed style, which goes with his pictorial images, is now the main character of his video work, where he also practices that intention to divide the time of the image in order to get a wider awareness of the object. To sum up, his strategy consists in involving us in a defiant perceptive exercise, which is solved, in many cases, by looking beyond the images, until turning them into unconnected ones and therefore creating a different understanding.We could also define Bill Viola as a slow painter. He occasionally revealed his preference and interest in the Persian poet and mystic, Rumi, from the 13th century. He thought that new ways of perception come to life due to a necessity; if we broaden our necessity we will, therefore, increase our perception, imagination and desire. Seeing is thinking and the art of vision is, according to this rule, an art of contemplation. We fix an object or nature with our way of seeing, we prolong the moment and everything takes control of the

    psyche, it changes remember Berger-. The patient wait, the intense observation of reality extracts from nature unnoticeable effects, and I suppose that artists such as lvaro Negro wonder if we actually think about the audience. Perhaps the key relies on the fact that the visual is constantly transforming and growing, it is the image throughout time, the image in movement. The proposal could be a broadening strategy, similar to the one which leads many artists to employ poetic language, because poetry broadens the meaning and language experience. In order to solve a time full of images, lvaro Negro tries to extend some of them, while others try to divide them. That is the reason why, more than ever, in his last works he presents an expanded world, like a drug capable of increasing our perception and distorting the conventions of time and space. We are talking about retina persistence, about a kind of expanded time that we find from Andy Warhol to David Claerbout. In their works, the image dominates spreading its own time, creating a tension that comes from his particular manner of breaking the image, playing with the inherent past of photography in order to spread its possibilities in a strictly cinematographic time. All is present within a kind of condensed, brief and dull narrative. However, after our relationship with the image, after the visual experience, we become aware of different times, which reveal a memory, a vision almost unnoticeable. Another slow painter would be Mark Lewis. His works are simple static shots which depend upon the running time. In Algonquin Park, a static shot shows a landscape covered by fog, which then clears up with time until we see a wood and a lake shore. I suppose that, with that monk overcome by the immensity, Friedrich wanted to show something like that. Anyway, we must conclude that time is no longer the same as it was. Everything related to time has changed. The time of the work of art, the time of the viewer, the time of the artist... Valeries sentence: during the last twenty years, neither matter, space, nor time have remained what they always used to be, included in the quote that Benjamin put at the beginning of The work of art in the age of mechanical reproduction, has changed into our technologies constantly reduce the intervals of time and space between the

    operations1.Following this advice, the virtual reader will suppose that talking to lvaro Negro is also an act of patience, an act which changes for hours until it becomes never-ending, expanded in a eternal loop. lvaro Negro follows his convictions in a process that means he constantly doubts about the situation and his objectives. That is the reason why, in this case, this slow painter, who is capable of working with video and photography, and also capable of returning to painting either in or out of the canvas- translates that patience into an act of reflection, into maturity at the time of resolution and risky advance; to sum up, into an intention of being a lively and restless artist.In this talk we have tried to reveal the exegesis of his work and that way of understanding the art as attitude; from his first minimalist works, where the painting started at the edge of the picture and a line of dull drops accidentally made up the image, to the liveliness of his paintings on aluminium; from the austerity of a group of collages of light translated into a dull frontal painting, to the flat and fast display of Luzpincolour; or from the return to mural painting to the confirmation of that interest in architecture as an integral part of the context of his production in his video works.

    David Barro: More than once I praised your

    attitude towards painting, your continuous w