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Neither noble, nor good, nor sacred

Curator: Alfredo Aracil
Jacobo Castellano, Fernando García, Christian García Bello
The Goma Gallery (Madrid, ES).
June 14 – July 21 of 2018.

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About the exhibition:

“Material was so entangled in the spiritual that it transcended itself, while still being material”

César Aira

The works on show in this exhibition speak to a religious aesthetic that, despite having been watered down in our outwardly secular society, still cuts across many forms of life, through contact with an endless chain of images, objects and beliefs that lie in the half-sleep of the collective unconscious.

Both in their sentient aspect as well as in the possible transcendental meaning they bring into play, we are presenting works conceived for a minor liturgy which literally engage with images, forms and organic components that are difficult to separate from a specific belief system, regardless of whether they share in it or not. In other words, they are symbolic artefacts in spite of themselves, silent, shrouded in a halo of humility, and often miniaturised. They are far removed from any pretensions to monumentality or grandiloquence, given that their distinctly unspectacular scale places them closer to the maxim from popular culture that claims that God is in the details. In short, they fall on the side of the trivial and perhaps a sound use of irony, under the influence of a naturalist impulse and not driven by the majesty which undergirds a large portion of the art produced under the political suppositions of the major religions.

Accordingly, they are removed from the maximalist gestures that are oblivious to the fact that spirituality does not necessarily entail piousness nor indeed a supernatural vision of the incorporeal, but rather an openness to immanence and to affect that grounds us in the world by catalysing contact between bodies and things; at once, they are also removed from an evolutionary vision of the arts, whose teleological narrative celebrates how contemporaneity abandoned wholesale any religious involvement as the twentieth century advanced. The overall group of works presented here deploys strategies such as anachronism, synecdoche or appropriation, evincing a wholehearted passion for material and for life. A deaf celebration, or perhaps a festive mourning for a world always on the brink of the abyss, where dying and death are not the same thing. The sense of a necessary ending that these works endeavour to attenuate explores the dark areas, memories and intuitions we associate with the familiarity of materials like wood, stone or thread, composing a series of allegories teeming with mystery. Through them we propose a walkthrough punctuated with leftovers, returns and evocations of a sensibility which is at once familiar and remote, entangling ancestral rites and myths, thus giving rise to other new, more plastic ones in an iconoclastic exuberance not exempt from a religiosity in conflict with monotheism.

Like children completely engrossed in their toys, artists operate playfully. They abstract signifieds and play with the signifiers, twisting them mercilessly and giving them another form, in a dialogue charged with symbolic violence and paradoxes whose goal is to deterritorialise common places. Nothing is safe from their appetite to profane. Just as there is nothing set aside for the realm of God. And, yet, in their zeal for objects and images, when every profanation entails the possibility of rethinking what the sacred means today and to what extent its coordinates should be changed, one can discern a certain sense of faith in the operations undertaken by their own hands: a faith in the very artistic act and in the field of possibilities it maps out. To consecrate the profane and to desecrate the sacred. In these times of a new pastoral of the market, in order for any object or operation to be able to generate a surplus value, the use value and the exchange value dictated by this logic must be called into question. In other words, to look back on apparently old, fragile, useless or trifling objects and artefacts on the verge of disappearing completely, as a way to ‘recover’ (Debord) the small, the everyday and the less productive. To cast doubts upon the whole system of temporal references that points towards the construction of a present which is measured in terms of eternity, of a future that never arrives, when pleasure and voluptuousness are never far away, dancing around that which is neither noble, nor good, nor sacred.

Alfredo Aracil

Beneath the Arm: Between the Palm of the Hand and the Armpit

Curator: Ángel Calvo Ulloa
Group exhibition.
CaixaForum (Barcelona).
January 30th – May 20th 2018.

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[Online Catalogue – EN]
[More information]

Ahora no es pretérito todavía

Individual exhibition.
FORMATOCOMODO (Madrid).
September 14th – November 17th (2017).

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Text:

Within the programme of APERTURA 2017, Christian García Bello (A Coruña, 1986) will present the exhibition Ahora no es pretérito todavía, his second solo show of at FORMATOCOMODO in which he will present his new works about the individual and its own temporal and spatial scales. The exhibition takes as a starting point the human’s longing for the imperishable, as well as the Philosophical study of time, taken from the Confessions by Saint Augustine of Hippo, putting the human being and its perception at the center of the game board. Thus, García Bello works with concepts such as temperature, conservation and patina of sculptures and drawings, through a strategy that tends to asceticism.

Exhibition leaflet:

[EN · PDF]

Reviews:

Miradas IV

Centro Torrente Ballester
Ferrol, A Coruña (Spain)
June 9th – September 9th 2017

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Miradas IV is a project that was born as a memory and as the present, with one eye in the mirror and the other on new objectives, other names and circumstances in other possibilities. The eye in the mirror looks at and evokes the cycle of exhibitions Miradas virxes, which starred part of the exhibition offer of the Centro Torrente Ballester in the early years of the twenty-first century. Today the reality that gave fruit to this group of individual exhibitions is quite different, probably less euphoric, less exciting, but equally as prepared and without a doubt more demanded, while at the same time less supported and with less expectations. Manuel Eirís, Christian García Bello, Alejandra Pombo and Damián Ucieda are some of the most outstanding representatives of this other generation, four new ways of seeing in four small individual shows, intertwined in a collective exhibition.

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Artists:

Alejandra Pombo, Manuel Eirís, Christian García Bello y Damián Ucieda.

Curator:

David Barro

Production:

DARDO

Organization:

Concello de Ferrol

Photography:

White Dog Studio

As burned blight

Individual exhibition.
CGAC (Santiago de Compostela, España).
March — December 2015

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Charcoal and graphite on wood, rope, metal and sackcloth.
Installation.
2015

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Curator:

Alberto Carton.

Exhibition leaflet:

[PDF]

More info:

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Photography:

Manuel G. Vicente

Nothing, quietness, waves

440x1000x40 cm
Exterior exposed Iroko wood and white Macael marble plates carved in bas-relief.
2016

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Paciencia y barajar

Individual exhibition.
FORMATOCOMODO (Madrid).
June 5th – July 24th 2015.

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Text:

Paciencia y barajar is the García Bello’s first exhibition in Madrid. The show draws a line about his work through his last researches around the individuals and their scale faced with the landscape.

The exhibition title refers to a quote from Don Quixote that Unamuno would gather to talk about his own waiting state, trying to establish a parallelism between the act of shuffling playing cards and the sea waves movement. The patience is the french name of the game of solitaire- understood as a no-action and the shuffling understood as an automatism needed and previous to a order generation.

His work is presently between that expectation and order. It combines the simplification that any idealization requires and a process of formal schematization, but without losing sight of intention to build complex sense structures.

Exhibition leaflet:

[EN · PDF]

Reviews:

García Bello, distancia apasionada · Elena Vozmediano · [El Cultural]

Fugir para lado algum

Group exhibition.
November 28th 2014 — January 10th 2015
Maus Habitos (Porto, Portugal)

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Artists:

Ángela Cuadra
Carlos Maciá
Nacho Martín Silva
Irene de Andrés
Fermín Jiménez Landa
Suso Fandiño
Diego Vites
Christian García Bello
Xurxo Chirro
Black Tulip

Curator:

Ángel Calvo Ulloa

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Full text:

[ES – DOC]

Credits:

Texts: Ángel Calvo Ulloa
Photography: Miguel Calvo

[More info]

Exposiciones actuales
  • Ni noble, ni bueno, ni sagrado
    Comisariado: Alfredo Aracil
    Jacobo Castellano, Fernando García, Christian García Bello
    14/06 — 21/07
Upcoming exhibitions