The oldest known artistic manifestations are rupestrian paintings, rupestris is derived from the Latin word for rock. Manu García’s canvases do not emerge from the caves, but in his studio in Oviedo, and are shaped as a game between autobiography and the pictorial experience itself. Starting from primitive instincts embodied by anthropomorphic figures and free strokes, both in his paintings on canvas and in his drawings on paper the densities of color configure features and shapes. Layers loaded with ancient iconography that bring to the present impulses that are projected into the future.
In the paintings “Con las ganas locas de prender fuego” and “Regar las plantas, quemar el laurel” we find main faces that support the action with oversized limbs. Hearts, stars and vegetation orbit in the same documentary plane, as the animals of the Paleolithic caves could have done in a remote moment, fulfilling a biographical and ritual function for their contemporaries.
Francesco Careri, in his book Walkscapes, defends the theory that architecture was born nomadic, in the Neolithic. The menhirs had a function in the path of the transhumance, they were part of the non-urban landscape and generated a rhythm and route. The sculptures that Oliver Sundqvist has produced during his residency at LA BIBI are like totemic presences, menhirs that incorporate a static mechanism, bizarre presences, which invite movement into the space they occupy, like symbolic architectures that invite displacement and the experience of their surroundings. A choreography in which the rhythm is imposed by the time between our steps.
Sundqvist’s pieces are a new present archeology, resulting from the collage among scraps and a one that, through assembly and painting, questions consumerism and the ways of production. From the remains of a hyper-technified society, he solves its atrophies from the resulting metamorphosis of forms, both recognizable and unknown.
With his installation “Ticket to paradise” Sundqvist invites us on a critical journey through the subaltern currents of the local tourist context, capturing the essence of these obscure traditions, revealing the intriguing dance between what is seen and what is hidden, while inviting us to question the narratives driven by consumption.
The time of creation, which relates to the primary, play, waste and aspires to the future, breathes, ascends like smoke, becomes a condensed cloud, a new organism, a bioism: the synthetic biology that creates the new molecules of Aljoscha, who creates the site-specific installation at LA BIBI. For the artist, art is the ultimate degree of science, and from this ethic he projects his pieces, which rise in space as sculptural science fiction.
This collective exhibition points out a calendar of random temporality, with echoes of a past with no return, which collect the fruits/residues of the present, and lead us to the future, tracing a path that rises towards the sky, and creates a silent echo, noise and white walls as a frame.
The anthropocene called into question the night of the autumnal equinox (in the northern hemisphere). The last phase of the solar calendar of the year begins. The Earth aligns with the Sun, and sunlight is evenly distributed over both hemispheres, and we take advantage of that light to also rotate the hands of the clock, to wind up and see the past, the present and the future sharing context, from three transversal glances towards a latent reality.