SELF SUPER AND HART: AND KIND FOR ERIBODI

Art Concept Secundino Hernándezfeaturing: Ben Callaway, Sidsel Carré, Ana de Fontecha, Miguel Marina, Cristina Mejías, Kiko Pérez, Bernhard Rappold, Alfredo Rodríguez, Manuel M. Romero, Cristina Spinelli, Felipe Talo

Opening: 10th of November 2023, at 7 pm
Exhibition duration: 11th of November – 13th of January, 2024'' 

SELF SUPER AND HART: AND KIND FOR ERIBODI is a personal vision of the emerging art world in Spain curated by artist SH.Throughout the exhibition, we will witness a vibrant scene in which the af finities and divergences create a polyhedric and yet consistent vision between artists. SH unveils both affinities and differences with its generational counterparts by celebrating the meeting points, and curiously exploring the counterpoints.The show displays an organic vision that aims to embody how diverse works converge in its use of procedures and languages (including photography, painting, sculpture, video and performance) rather than through a discursive proposal or a set of statements.The artists' gaze provides the chance to share an organic vision of the materials, the arrangement in space and the visual power of the work, providing a candid yet powerful survey of today's art in Spain.''

Ben Callaway (b. 1978 in Bristol, lives and works in Madrid). Ben Callaway studied fine art at Goldsmiths College and the Slade School of Art. Recent exhibitions include: Bad Times, Espacio Valverde, Madrid, 2023, Screeners II, Selected by Chis Sharp, Helena Anrather Gallery, New York 2020. Coleccion Cerradura, Espacio Valverde, Madrid 2019. The Day Off, Espacio Valverde, Madrid 2018. Zero Budget Biennial, curated by Chris Sharp, Carlos Cadenas, Paris, Galleria Pianissimo, Milan, Rokeby, London and Klemm's Gallery, Berlin, 2010. Between Fact and Fiction, Projectesd, Barcelona 2007. Video Work, Culturgest, Lisbon, curated by Miguel Wansdchneider 2006. Fresh Moves UK, New Moving Images published by Thames and Hudson, 2006. Double Lunar Dogs, Whitechapel Gallery, London, curated by Stuart Comer (MOMA) 2005.Ben Callaway has been using video as a means of manipulating found and appropriated footage, and creating montages according to the conventions of film language. These techniques enable him to create short fictional narratives that are as intriguing as they are visually fascinating. The works are constructed from anonymous, secondary footage taken from a diverse range of documentary, educational, promotional or amateur videos, all on VHS. Ben Callaway stresses the materiality of the medium through different manipulations of the source material: the images are dissolved by repeated analogue transfers, and then reconstructed in digital format, while their speed is also radically altered throughout the process. An unstable space of perception and interpretation opens up within the relationship that we, the viewers, establish with the works. This space is enhanced by the complex, symbiotic relationship between form and content, between the narrative and the materiality of the medium, and between the moving image and the internal movement of the image.(Curator, Miguel Wandschneider, Lisbon, 2007)Aviación Española (Spanish Aviation) is the name of the metro station I use to get to my studio in Madrid. The title of these paintings is both decoy and sentimental; one is lured into vague comparisons with shapes and forms we imagine belong to a world most of us know little about. The paintings are loosely based on watercolour sketches of landscapes. The larger painting could be a beach scene with a castle, but the flatness and colour of the picture draw it back from representation and towards abstraction or pattern. The smaller work could be a detail or object from within the first painting that remains unseen or hidden. The two paintings share the same title, so they both contribute towards generating an atmosphere.‘Hands’, is a small painting based on the mudras of Buddha. It is divided up with a pencil into sixteen squares where the gestures of Buddha are rendered simply and repetitively. The storyboard of film and the photography of Eadweard Muybridge influenced the picture. The small size of the picture means that from afar it appears abstract, but on closer inspection, the hands become recognisable. Mudras signify meaning in Buddhism; in my painting, the rendering of the hand gestures suggests a failure of communication.

Sidsel Carré (b.1981 in Aalborg, lives and works in Copenhagen). Sidsel Carré studied painting at The Royal Danish Academy of Fine Arts and graduated in 2015.„These are paintings and drawings about light, on a formal level and on an imaginative level, the light of memory, of dream and of being awake, inhabiting experiences of embodiment and embrace, viewing the body as part of nature as something, iridescent, lush and ludic. What can one ask about the inconsistencies of the world, about the transient reality? Art can participate in a production of knowledge, though paradoxically art also participates in an existence that remains unarticulated, potential, secretive and carrying promises of the future. It passes, so light, so swift, so ephemeral and makes a subjectivity of air and transparency rather than of flesh and blood. The ethical other surfaces as palaces of hidden existence and intentions, roads of interpretation, in a world where cognition and recognition never are two aspects of the same and where subjectivity is something spectral, as unattainable as light particles. The artworks play on ideas of subjectivity as a conductor of souls into the afterlife, thinking, believing and wanting different things all at once in a realm of silence and passion with an unusual affection to the clock, high velocity, winds and wings, messengers and angels.“

Ana de Fontecha (b. 1990 in Madrid, lives and works in Edenhofen).“As a process, my research is defined by the interaction between places and uses. From space, I focus my work on the constructive process based on standardised measurements and experimentation in specific places, questioning the narrative processes that situate us in reality. Starting from an autoethnographic process, in which my intimate relationship with the object of study is the first factor in question, I reconsider the interaction with what we know as ‘’reality’’ by dismembering it into a constellation of small stories. My interest is thus focused on finding methodologies with which to investigate the narrating factor of places; understanding that in order to recognise ourselves as individuals we need to recognise ourselves in a specific place and this beyond the physical context exists as a narrative; my purpose is to find ways to dislocate this relationship between the individual and his or her immediate environment by proposing narratives that are sustained by speculations of other realities.”behind, behind, is an installation composed of four black MDF foldable walls of 18 sheets each, 2,44 meters high 3,60 meters long. Four heavy dividers stand one covering the other, without allowing to see what is behind. Making it difficult to understand the space, pushing to hesitate about the back side or if there is even a front face where to stand. Between the gaps of the panels, the dividers rise as broken walls that play between the body and the void, hiding and revealing a path to reach one's position. What is behind is only the speculation of pretending to see or understand how to find a place in the room. Each biombo, at both ends, indicates with a plate behind.Notes on: behind, behind., 2023turning around,
spinning on the same exact spot seeking for what it is behind
turn
turn, turn, turnwhat it was is again, behindfrom the back
the pleasure of the uncertainty of not seeing an unexpected impact that makes spinwhat was in front fades away while searching for what was before
it is no longer thereat the back of the turn behind

Miguel Marina (b. 1989 , lives and works in Madrid). has a degree in Fine Arts from the Complutense University of Madrid. In 2010-2011 he lived in Bologna, where he continued his studies within the Erasmus program at the Accademia di Belle Arti di Bologna. He has been artist-in-residence in Casa de Velázquez (Madrid 2013), Piramidón Center d’Art Contemporani (Barcelona 2016), Royal Academy of Spain in Rome (Rome 2017-2018) and Fundación BilbaoArte Fundazioa (Bilbao 2019). His work has been seen in exhibitions as part of institutional projects such as A veces pasa, Centro Párraga, Murcia, 2023; Una historia del arte reciente (1960-2020), Fundación Juan March, Cuenca, 2021; Pintura: una renovación permanente, Museo Patio Herreriano, Valladolid, 2021; Generación 2020, La Casa Encendida, Madrid 2020; La radice del domani, Real Academia de Bellas Artes de San Fernando, Madrid 2019; XXIX Circuitos Artes Plásticas, Madrid 2018; Manuel Eiris – Miguel Marina, Fundación DIDAC, Santiago de Compostela, 2018. The artist understands his work as a process in which each piece and each material led him to the next, which causes formal and discursive leaps that seek to analyze and think the landscape and its different elements that compose it trough Painting and its materiality. In his practice he uses processes that involve the idea-image-material union and believes that these extend into a body of works that look at different front lines but refer to the same thing, a kind of fragmented narration that evokes making and crafts as an awareness and starting point when relating to the work on a day-to-day basis.In this new series of works produced during these last months of 2023, Miguel Marina works in large formats, where stains of colour build up a fluid and gestural composition -not previously projected - between shapes and layers, sometimes more diluted, sometimes drier, even making corrections and cancelling layers of previous paint. In the smaller formats, however, the paint appears more impastoed and the composition emerges both from the colour and from the sgraffitoes that he scratches and draws on the surface.

Cristina Mejías (b. 1986, Jerez de la Frontera, Spain, lives and works in Madrid). Graduated in Fine Arts from the European University of Madrid and the NCAD (Dublin, Irland). Later she developed part of his artistic practice in Berlin, where she would reside for four years. Afterwards she graduated with an MA from the Complutense University of Madrid, where she currently lives and works. She has recently held solo exhibitions in international institutions and spaces such as Patio Herreriano Museum (Valladolid, 2023), Pa rraga Art Center (Murcia, 2021), La Capilla Theatre in collaboration with Vi ctor Colmenero (CDMX, MX, 2021), Provincial Museum of Cadiz (2020), Provincial Museum of Jaen (2020), Blueproject Foundation (Barcelona, 2020), Museum of Contemporary Art of Zulia| MACZUL (Maracaibo, VZ, 2018) among others. Her work has also been included in international group shows in spaces such as Chapelle St. Jacques Centre d’art Contemporain (Saint-Gaudens, FR), Casal Solleric (Palma, SP), Kindred Spirit (Lisboa, PT), Parra Romero (Madrid, SP), Casa de Iberoame rica (Ca diz, SP), Rafael Boti Foundation (Cordoba, SP), Alarco n Criado (Seville, SP), Ci rculo de Bellas Artes (Madrid, SP), Rodri guez Gallery (Poznan, PL), Impronta (Guadalajara, MX), ProyectoH (CDMX, MX), Ine ditos and Generacio n2020 Prize at La Casa Encendida (Madrid, SP), SCAN Projects (London, UK), CentroCentro (Madrid, SP), the Center for Contemporary Creation of Andalusia C3A (Co rdoba, SP), Mendoza Foundation (Caracas, VZ), Artothe que (Burdeos, FR), TEA (Tenerife, SP), Cultural Center of Spain (Montevideo, UY/ Lima, PE/ Concepcio n, CL/Rosario, AR), or the Andalusian Center of Contemporary Art|CAAC (Sevilla) among others. Recent awards include the Illy ARCO Fair Prize 2023, the First Prize for International Visual Arts Award IX Obra Abierta edition, the ARCO Foundation Award 2022, The Comunidad de Madrid for Young Artists ARCO Fair 2022, Generacio n 2020 Prize, Blueproject Foundation, Grant for Creation in Visuals Arts 2022 of the Community of Madrid or VEGAP XXIII. Recently she has been selected to do an artistic residency at ARTWORKS|No entulho in Oporto (PT) thanks to a collaboration with Matadero Madrid. Previously she has been artist in residency in Pico do Refu gio (S.Miguel Island, Azores, PT), Volca nica (Guadalajara, MX), Blueproject Foundation (Barcelona, SP), Hangar Lisboa (Lisbon, PT), C3A (Cordoba, SP), Tabakalera (Donostia, SP), Ateliers dos Coruche us (Lisbon, PT) and Museum of Contemporary Art of Zulia|MACZUL (Maracaibo, VZ). Her work can be found in collections such as ARCO Foundation, The CA2M Centro de Arte Dos de Mayo Museum, the Andalusian Center of Contemporary Art| CAAC, Jorge M. Perez. Miami Collection (USA), Kells Collection and DKV, among others.Saying and singing, says Rousseau that Strabo says, used to be the same thing. It is not enough for us to dry a leaf and store it away in an herbarium; for the living plant is bitten by air, and it is important that this should happen. To come alive, libraries require our desire. The practice of orality traverses bodies. The listener listens. The work of Cristina Meji as arises from intimate narratives, those that are transmitted orally and have much of the voice of the storyteller who narrates them and the listener who lends their ear. Containing all possible formulations, milestones are mixed with myths and legends so that fictions appear as options that escape from a hegemonic narrative. Her multidisciplinary artistic practice allows her to become a transmission link and a learning body.[...] The Pythagorean philosophers argued that the movement of the stars does not take place in silence. They even managed to demonstrate the harmony of the celestial concert by calculating the distances and speeds of the wandering bodies. Who would have thought that the universe was out of tune? In the introduction to Cronopios and Famas, Corta zar tells us that when he presses the spoon with which he stirs the coffee between his fingers, he feels “its metallic heartbeat, its suspicious warning”. Jingling cutlery: the acrobat above the cathedral (the fortuitous meeting on a dissecting table of a sewing machine and an umbrella; the hoop of a barrel and the seat of a chair; the bone, the fillet and the thread). “A thread is a very simple thing: just a line in space,” Didi-Huberman writes. “But it is also something very complex: a skein, a complication of strands. [...] The thread always hangs by a thread. Such is its beauty.” In the presence of air and ear, everything that moves, sounds: that which rises and that which sinks. Every body that moves stirs up the gases around it, generating an involuntary breath that strikes, softly, other bodies it does not touch. Hurricane and breeze are a mere question of scale, like equilibrium and collapse. Climbing on her cable, the tightrope walker underlines the flimsiness of all support: she shows us how incredibly long-lived beings would see our instability. [...] (Fragment of text by Joaqui n Jesu s Sa nchez)

Kiko Pérez (b. 1982, in Vigo, Spain, lives and works in Madrid, Spain). The work of Kiko Pe rez develops mainly between the field of painting and the artistic object. Trained in sculpture, his works always show a concern for form and color, becoming two of his main themes. In recent years he has created paintings-reliefs in which several previous processes come together, such as woodwork, geometric abstraction, biomorphic forms... adding new nuances, such as a more expressive gesture and the construction of images through a logic that He focuses on painting through its history.Long time I don't see you, 2023. A storm is coming. Let's take a look at the title, you surely understand its meaning, at the same time you notice the syntax error. Let's say that the image and the distribution of the elements that compose it represent, in the painting, the error in the title text.The escape to Egypt, 2023. Atypical painting in the artist's body of work due to the inclusion of a figurative element, which triggers its title and shows a biblical episode, widely discussed in the history of painting, with a new visual language, unusual for the subject.

Gingerman #1, #2, #3, #4. Alter-egos as picture-being.

Bernhard Rappold (b. 1979 , in Vienna, Austria, lives and works in Berlin, Germany). Graduated from Academy of Fine Arts Vienna, Painting class.My hands are growing tentacles.(...) Bernhard manufactures scenarios, paints figures - or glimpses onto facial appearances - and instruments to float with them. Those are guitars. The guitars which populate the space with the paintings in the studio are too realized following the shape of materials and dressed with stretched fabric, shiny textiles or vinyl cloths. They are only seemingly soft bodied and perfectly functioning instruments. They are crucial objects of the whole - the whole creative outcome - and feel like temporarily separated parts of the works on canvas or wood, a sounding element, which re-sounds the forms and shapes of the portions of faces, of the limbs, of the jaws.The instruments' forms complement the human postures too, they make sense while one moves among them. They feel as if they'd click right into one's movement, into an acquired gesture, a position, a bent torso, a curved arm and are sinuous. Their shapes seem to long towards the imaginary characters populating the pieces and to the space in-between them to be filled.(...) (Chiara Valci Mazzara, 2023)Shows: Être, peut-être, The Grass is Greener, Leipzig, 2023; THIS HOUSE IS NOT A HOME, Lothringer 13, München, 2020; TACTICAL HAPTICAL - Bernhard Rappold, Collection Born,2018; DESFRONTEIRIZAÇÃO, Ateliê Fidalga, São Paulo, 2018; MONDO CANE, Galeria Alegria, Madrid, 2017; LOG LINE, Mauve, Wien, 2017.Wall Piece I show an installation consisting of ten playable Guitar Sculptures. All guitars are hand painted and have undergone a crafty process of creation. Each guitar has its own body, its own character, its own size and sound. The guitars will be connected to an amp system. The ensemble will be installed on the floor. A fabric work of stitched white towels will serve as a base. During the opening they will be activated by the participating artists in order to create a droney wall of sound. (Bernhard Rappold)

Alfredo Rodríguez (b. 1976 in Madrid, Spain, lives and works in Madrid) works around the photographic image and sculpture subjecting them to experimental processes of variable complexity in his studio and laboratory. His practice almost always starts from images or objects that refer to the body and ends up being transformed into an equivocal presence, moving away from the singularity of the physiognomy and approaching an idea of expanded flesh. The time of chemistry, photosensitive materials, light, his partner’s body and the material imprint of the photographic and his sculptures and drawings go through all the phases of his process, giving rise to a desire to erase or to a fading of the time of the sbject ( image or object). In this way, his research pursues a maddened conservation of the ephemeral, by (or ‘while’) trying to provide the whole set of events and materials with a stable permanence, as if it were a crystallization. Rodri guez is represented by Espacio Valverde in Madrid and has recently exhibited at Centro de Arte 2 de Mayo (CA2M) in Madrid, Montecristo Project Cerden a, Matadero Madrid, Sala Arte Joven, the Istituto Europeo di Design, among others. His works are in institutional and private collections as DKV, Kells, CA2M, Madrid Contemporary Art Collection. He studied and specialized in the history of photographic processes and sculpture at ESCRBC in Madrid. Alfredo Rodri guez works and lives in Madrid, Spain.Spread on Sahatsa and Spread on Carlos is a series of photography works made from the work of other artists, the process was to borrow some sculptures from a selection of artists close to my work and with whom I have a good relationship and once in my studio, make them interact with different types of light (tungsten light, laser light, direct sunlight...) under different conditions; then the result of that interaction is collected on photosensitive paper and processed in different ways, thus obtaining a version of the object without using the photographic image, the result is a photographic series that apparently has nothing to do with the original objects but is nevertheless profoundly related to them.Spread is a photograph made following the same process as Spread on Sahatsa or Spread on Carlos, but without using the work of other artists, instead an old gift in the form of a mask that someone gave me was used for the process, a mask that reproduces the skull of the person who gave it to me. In this work, the result is somewhere between representation and abstraction, in a gesture to dissipate the weight of what is represented.Chasis, 2020 is the result of growing a sculpture from the outermost layer ( the fairings) of a motorcycle, using photographic material from images of the body as a chassis to support it during the process.Terapia, 2021 is a sculpture created with a previously fixed system in mind, it is a long process in which sheets of resin are obtained and are attached to the body until they polymerize, then the body is detached from them leaving a kind of shell. The idea was to join two shells from two different bodies, two backs forming an empty space inside each other. Each of the sheets that make up the casing comes from a mold in which a series of lines were engraving, lines that are used to indicate the energy streams used in oriental medicine. Those lines appear as inscriptions on the surface of the resin casing. All the works in this selection are made with the same perspective, starting from something already done and transforming it by subjecting it to the internal laws of free experimentation with materials and processes. The motorcycle, the body, the works of other artists are brought to my studio as two things: idea and matter. Things come first as an idea, as the starting point for confronting matter and its processes, matter complains and returns a distorted version of the idea, and that is reconsidered and modified and confronted again to matter, this process is constantly happening in my study until a certain form is reached. That's what happens in my studio, I take things from the outside to reformulate the laws that govern the meaning of how, and sometimes why, they have been created. I don't use and I don't like to take things for what they aren't, but I really enjoy asking myself about possibilities, because maybe we get nostalgic when we see a crushed motorcycle and we keep calling it a motorcycle, but is it a motorcycle? The truth is, we don't have a word between a certain number of bent pieces of iron and a motorcycle. This emptiness between states is a kind of gap, and I find myself happily trying to fill that emptiness.

Manuel M. Romero (b. 1993 in Madrid, Spain, lives and works in Madrid). The artistic work of Manuel Marti nez Romero investigates the reduction to the essential, with simplicity and visual silence as an alternative to the dizzying use of the current image. He flees from the speed that characterizes our environment and creates spaces for pause and reflection. Pause as an alternative. The pause talking about painting. An abstract, empty, calm, monochrome image, with subtle contributions, which constantly alludes to its own process. He is greatly interested in everything that happens during the process, which is why the works constantly speak of events that occurred in the studio, where the paintings and drawings are constantly related to each other: sketches of one piece glued to another carried out in parallel, stained canvases during the preparation of other paintings, unfinished paintings (practically culminated in the compositional distribution of the support), surfaces worn by footsteps, etc. The last step, exposure, is essential for this development. In the case of Marti nez Romero, the installation of the works in the space is carried out with a vital importance of the void.

Cristina Spinelli (b. 1993 in Madrid, Spain, lives and works in Madrid). Spinelli studied atWhen talking about my work throughout the course of my practice, I have always used the concepts of absence, shadow and phantasmagoria. For some time now I have realized that perhaps an appropriate word to describe it might be disappearance. In my first works the image disappeared in pursuit of acquiring a new sculptural form; my research went from finding vestiges and fragments of ornamental vegetal motifs in architecture —these plants are no longer there, the representation just keeps their image—. The exercise of vanishing can also be seen in my fire murals where I trace the shadow of previous works, as well as in my work with wax: a material destined to disappear in most cases, either replaced by nobler materials —lost-wax castings—, or when a candle is lit and in order for the flame to continue existing, the wax has to be consumed. I try not to leave behind the things I did, but let them echo in what I do. I believe that my way of working and relating to materials is determined by the experiences and the context in which I grew up: a small village in La Mancha (an arid but largely fertile elevated plateau in central Spain), shaped by traditions, catholic religion and mysticism. Some time ago I happened to gather some candles that had already been used. Since then, I have been repurposing that wax in different ways. For instance, initially depicting vegetal forms of architectural ornaments, to eventually altering their size and generating anamorphosis, or to embrace and encapsulate the bodies of other materials (communion gloves, frosted violets [typical candy from my region], remains of shells and nacre...).
Fire and wax are currently of great importance in the family of materials I work with. Wax as a soft material, poor and destined to disappear, but loaded with a liturgical aura and a capacity to protect —power of exvoto [votive offering]—. Fire as a vanishing material that has been there, a material which purifies and transforms, but that leaves its mark and engraves the shadow —or the scar— of past echoes.

Felipe Talo (b. 1979 in Barcelona, Spain, lives and works in Berlin). Felipe Talo studied Philosophy and Fine Arts at the University of Barcelona ( Spain) as well as engraving and mosaics at the University of Ravenna (Italy). He develops his work around painting, which he endows with a strong narrative character, although in many of his projects his pictorial work expands into other disciplines such as installation, video or performance. This allows him to use the exhibition space as a mechanism of exploration to create a work that revolves around the ontological dimension of art and uses an intricate network of heteronomies to confront it from different points of view; contradictory questions such as the mysterious and the logical, death and creation or real and illusion. From 2007 to 2009, together with Nuria Fuster, he created the LOBAK collective, with which they held various exhibitions, such as Circuitos 2007, Generaciones 2008 and Explum 2008 and 2009. In 2008, together with Pablo Valbuena and Nuria Fuster, he developed the project HAMBRE (HUNGER), which received the creation grants from Matadero Madrid in 2011 and which went on to hold up to three editions. In the same year he had his rst solo exhibition, Imperdibles at the Sala de Arte Joven in Madrid. He has held several solo exhibitions in di erent European cities, including Metempsicosis: Woman with blue ball, in Blanco Projektraum in Berlin 2013, La leyenda negra in Galeri a Alegri a (Apertura 2014, Madrid), Los extremen os Fundacio n Arranz-Bravo, Barcelona 2016, Hypnosis at Ribot Gallery (Milan) also in 2016 amd Confessions of an extreme lover at Galeri a Alegri a, Madrid 2018. He participates in different projects and group exhibitions such as Casa Leibniz 2015 in Madrid, Estampa 2015 in a project curated by Guillermo Espinosa, Cuestio n de Fe/Cuestion de trozo, together with Lucia C. Pino, Martin LLavaneras and David Bestu e at the Centro del Carmen in Valencia in 2019, ARCO 2020 as part of an activity curated by
BFA, CES Felipe II
(UCM), Aranjuez, Madrid, ES, as well as at North Nova Education Center, New Glasgow, Nova Scotia, CA.

Secundino Hernandez or recently in the city of Berlin, Jumping at Jumping at Gleason's in Berlin with the Viennese artist Bernhard Rappold, the Mexican writer Antonio Ortun o and the Nadal Prize winner Eduardo Lago. His work is in different European public collections such as Collection Born (Germany), Sammlung Karton (Austria), Coleccio n Explum Fundacio n Caja Madrid (Spain) and the University of Barcelona (Spain). In the recent 2023 Felipe Talo has had a solo exhibition on the occasion of his solo show“BALASTEXISTENZEN ” in Madrid, and was invited by the curator Pilar Soler Montes on the occasion of the exhibition cycle “ Ornament and Crime” which took place in the anatomy hall of the Fine Arts University (Madrid) as well in Bethanien (Berlin). Talo is currently preparing the project “CUERDA Y CORAZON”, which will take place in the form of three chapters between Madrid, Brussels (solo show Waldburg &Wouters) and Cordoba (october 2024).The story of blue leg, 2019, With the story of blue leg Felipe Talo elaborates a great narrative through which to take a closer look at issues such as neglect and survival, the feminine and the earth or the importance of the bonds with our children. A painting of life and verse where the words and the painting formulate meaning, evidence of embodiment and acknowledgment of being. A symbolic system where the paintings become like slogans, a history of the origin of the Universe understood in its duality in which words and painting are no longer understood as fantasies of nothingness and become a proposal of space for the whole. Covadonga, the woman who stitched the words for Talo, lost her husband and son 23 years ago. Since then she stitches every day in order to continue living. She unknowingly wrote her wish: to kill death and bring cotton and a house full of flowers. Her son’s name was Luis. (Text by Diana Guijarro on the occasion of Totality and infinite (economies of transfer in other Time(s) for art). Centre del Carme for Contemporary Art, Valencia)