Author name: jorgelopez

“Origen. Donde se produce el roce” Es una exposición colectiva que desarrolla un proyecto en Jorge López Galería donde se invita a tres artistas, Ximena Ferrer (Lima 1994, reside en Berlín), Simón Sepúlveda (Santiago de Chile 1989, reside en Madrid) y Pablo Bellot (Alicante 1976), a romper las líneas estéticas que habitualmente conforman la programación de esta sala. Este cambio genera fricciones y confrontaciones con lo incomprendido y lo desconocido. Cuando el lenguaje alcanza sus límites, la relación con él queda expuesta a nuevas formas.

In this way the public can find unrecognizable records compared to what is customary in this gallery's programming. A programmed space, where logic is broken and confusion, a change of energy, friction occurs

“Origin. Where friction occurs” addresses issues of identity, migration, inequality and the creative potential of conflict. This exhibition project arises from collaboration with artists and seeks to generate effects that are contingent and unpredictable.

Ximena: Reflection through reflection.

He builds his work from stories and memories, whether real or invented. His paintings are sensitive and energetic scenes in which the characters look directly into the eyes of the viewer. Alternating attention through synthetic paint, she compares and adjusts expressions until they appear the same, creating a connection with herself through the appearance of a girl. Ximena mixes autofiction, visceral sincerity and the exaggerated dramaturgy of soap operas to capture scenes on canvas, choosing vibrant colors that reaffirm their existence.

Simón Sepúlveda: The social observer

He configures his work as an observer, capturing human expression through different scenes of protest, parties or everyday relationships. His paintings break the logic of perspective, representing a space where we all intersect and are intervened by others. His works, bright and colorful, reflect his particular sensory perception and his relationship with people and the environment.

In his work he addresses political, social and territorial milestones through domestic objects, combining ancestral and contemporary practices, digital and pre-Columbian codes, as well as elements of daily life.

Pablo Bellot: The materialization of sound and the inability to communicate

It presents a series of works where ceramics and sound amalgamate, capturing the precise moment of a scream. His ceramics materialize sound and make the immaterial visible, manifesting the impossibility of communication for the contemporary individual.

Abstraction in his work is not an evasion, but rather a confrontation with the unknown. Their ceramics make sound visible while drowning it out, creating a tension between communication and its impossibility.

"Whoever leaves home has already returned" is a project that explores the sense of belonging and appropriation of a place during displacement. It consists of the collaboration of two prominent artists: Javier Bravo de Rueda (Callao, Peru, 1989 - resident in Bilbao) and María García Ibáñez (Madrid, 1978 - resident in Mexico City).

The project addresses the notion of "dwelling" from various perspectives. Travel and distance reveal the idea of ​​home, reflecting a constant search for elemental structures that refer to a nomadic body. The artists dialogue with the space they inhabit, marking their own routes that are traced during the trip. 

In María's works, lines solidify through clay, turning the act of drawing into an exercise in demarcation. The installation acts as a drawing that maps space, using ceramic pieces as vital traces full of geographical potential.

For his part, Javier examines the phenomena produced by multiculturalism and material and immaterial accumulation. His work delves into cultural syncretism and the constant search for identity in an increasingly hybrid world. 

The project proposes a look in two directions: from Latin America to Europe and vice versa, as well as from Europe to Latin America, generating a multicultural dialogue and a clash of perspectives.

Constant research, both theoretical and technical, of new materials is fundamental in the practice of both artists. 

Claudia Joskowicz presenta «Intersecciones», su primera exposición individual en Jorge López Galería.
La muestra reúne dos obras fundamentales en su trayectoria: la trilogía de videos «Recreaciones» (2007-2009) y la videoinstalación «Cada edificio de la Avenida Alfonso Ugarte – Según Ruscha» (2011). En estas obras, Joskowicz reinterpreta momentos clave de la historia boliviana, utilizando paisajes y espacios públicos como escenarios para reflexionar sobre la violencia, la memoria y la construcción de mitos nacionales.
En «Recreaciones», la artista reinterpreta tres momentos clave de la historia boliviana:
• «Arrastrado y descuartizado» (2007) recrea la ejecución pública de Túpac Katari, líder indígena que se rebeló contra el poder colonial español en el siglo XVIII.
• «Vallegrande, 1967» (2008) se centra en la presentación del cuerpo del Che Guevara a la prensa después de su asesinato en Bolivia en 1967 y en la lavandería donde se lo tendió. Ahora el pequeño edificio, cubierto de grafiti, se ha convertido en una de las paradas más veneradas en la ‘ruta turística del Che’ y, por tanto, parte del mito del Che.
• «Round and Round and Consumed by Fire» (2009) reimagina la muerte de Butch Cassidy y Sundance Kid, dos forajidos estadounidenses que se cree fueron abatidos en Bolivia a principios del siglo XX.
«Recreaciones» invita al espectador a reflexionar sobre la manera en que la memoria histórica se construye y se transmite a través de imágenes y relatos confrontandonos con la violencia, pero también con la posibilidad de resignificar el pasado y reescribir las narrativas oficiales.
«Cada edificio de la Avenida Alfonso Ugarte – Según Ruscha» (2011) es una videoinstalación de dos pantallas que toma como inspiración el libro fotográfico del pintor norteamericano Edward Ruscha «Every Building on the Sunset Strip» (1966). En una toma continua de 26 minutos, Joskowicz documenta la vida cotidiana de la Avenida Alfonso Ugarte en El Alto, una ciudad satélite de La Paz y uno de los centros urbanos más grandes y de más rápido crecimiento en Bolivia. El Alto es, también, uno de los principales sitios donde tuvieron lugar las violentas protestas relacionadas con el conflicto del gas boliviano de octubre 2003. La obra yuxtapone lo cotidiano con el conflicto social, revelando la realidad abigarrada y el genio del lugar, así como la cotidianeidad de los países en vías de desarrollo.
Claudia Joskowicz vive y trabaja entre Santa Cruz de la Sierra y Nueva York. Ha expuesto ampliamente en los Estados Unidos e internacionalmente y su trabajo se encuentra en las colecciones permanentes del Museo Guggenheim, NY; la Fundación Kadist, San Francisco, la Fundación Cisneros Fontanals, Miami, y el Banco Central de la República, Bogotá. Joskowicz ha recibido numerosos premios y becas los cuales incluyen una beca NYFA en cine / video, el premio Anonymous Was a Woman, una Comisión de Artistas de Media Carrera de la Fundación Cisneros Fontanals, una beca Guggenheim en cine / video y una beca Fulbright. Ha sido becaria en Yaddo, Latin American Roaming Art Project, Oaxaca, México, Sacatar Institute, Bahia, Brasil, el programa AIM en el Bronx Museum of the Arts, NY y las residencias Workspace y Cité des Arts, Paris del Lower Manhattan Cultural Council, NY. Una monografía de su trabajo entre el 2006 -2022 será publicada por la Editorial Turner, Madrid en 2024.

El proyecto para ARCO 2024, titulado “Entrelugares: Explorando la Perspectiva del Extranjero en Casa,” tiene como objetivo destacar tanto las visiones internas como las foráneas de nuestra comunidad y sus dinámicas. Este enfoque nos permite mostrar la riqueza de perspectivas que enriquecen nuestra comprensión y nuestra identidad como comunidad. Esta denominación reconoce la importancia de comprender cómo nos percibimos internamente y cómo somos percibidos desde fuera. Busca promover una comprensión más profunda de la complejidad de perspectivas en torno a la colonización y la descolonización, a través de la mirada de artistas nacidos en América del Sur (Latinoamérica) y residentes en Europa y Norteamérica. Todos ellos están a cierta distancia de su país de origen, lo que les permite actuar como observadores externos mientras mantienen vínculos con su realidad y origen específicos. A través de sus obras, exploran cómo se han interpretado y representado el paisaje, la cultura y la identidad. Esta perspectiva se asemeja al “entrelugar” que Edward Said teorizó, habiendo habitado él mismo un espacio intermedio entre Palestina y Nueva York, lo que le otorgó una perspectiva única en su trabajo comparativo entre culturas. Este proyecto para ARCO2024 nos invita a reflexionar sobre cómo las perspectivas foráneas pueden enriquecer nuestra comprensión de otras culturas y regiones del mundo. Además, resalta la importancia de la perspectiva externa en la construcción de la identidad cultural y la narrativa histórica, demostrando cómo esta influencia moldea la forma en que interpretamos y nos relacionamos con nuestra región.

Jorge López Galería participates in Swab 2022 with works by Álvaro Porras Soriano (Ciudad Real, 1992) and Victoria Iranzo (Cuenca, 1989).

Álvaro works around the gathering of contextual and historiographic references. His production, from different material bodies, but consistent with the pictorial representation processes, attends to certain specific cultural stories and the search and interpretation of their symbolic codes. 

Victoria and her work show a nexus where experience and illusion are mixed through the lens of uncertainty. The artist shows herself as a creator in constant evolution, with her own language in which reason and order dialogue under her rules.

MONUMENTO, is the first individual exhibition of the Argentine artist, resident in Rome, Matías Ercole in the exhibition space of Jorge López Galería.
A project designed specifically for the gallery’s space, which brings together works of various formats. Images in ink and wax on large format canvas paper in a scale competition with the architecture of the room itself.
Ercole's work is based on the certainty that drawing is capable of making the invisible visible and, in his latest works, he focuses on the study of a character: light as the axis of his system.
Which he approaches simultaneously from different approaches, technical, physical and poetic. Through it, visions of the world are structured and confronted. According to López himself “in Matías's work there is a discourse totally closed towards abstraction and gesture, a discourse that guides us between darkness and light that take us on journeys that recall Renaissance or Baroque works”
The landscape is the central iconography in which the investigations of it take place. On this occasion, in “Monumento”, the light becomes “strange”. A light that the artist thinks is typical of his geography.
Hallucinated, valuing the out of oneself, the idea of madness and an exoticism from which Latin America has been thought

As an aesthetic paradigm, landscape contemplation reflects on the supersensible components that highlight the archetypal elements of the scene being observed. On the other hand, being in the landscape, belonging to the environment, interfering in the scene, is a political exercise that marks the landscape according to the relationship between the subject and the environment.

Raising these two statements together, we can say that those aesthetic acts of configuring experience through observation introduce altered forms of political subjectivity through the gaze.
Being in the landscape implies mentally defining the notion of “pays”, in relation to the orchestral forces of the states and the reality of the context. The political view of the landscape implies the presence of an observer in front of a real object, in his case, in front of a territory. However, the expansion of the landscape regardless of its physicality, the mental omniscape, has caused the identity and political considerations of the traditional landscape to be a psychological and ethereal body. The landscape as a recognizable medium has been transformed into a stage as a projected mental place.

The exhibition I Have a Dreams to cross the Reality is a set of critical positions of the place itself that evoke particular scenes, these being the representations of the lines drawn by the minds of its authors. These scenes combine in a logical whole the pieces that make up the project developed by Victoria Iranzo (Cuenca, 1989), Cristina Ramírez (Toledo, 1981) and Gema Quiles (Vila-real, 1994) in Jorge López's space. The works of these three artists exemplify how the creation of contextual scenes is a practice intended to give presence to the becoming-world of subjective, somatized and identity-based thought. The creation of these scenes, from an anthropological point of view, is a response to the end of political utopias. However, it is a negative response to the determination of such an end.

Each one, in turn, proposes a look at specific contexts in which identity offers a deregulation of the hegemonic positions of pictorial representation.

Iranzo's work alludes to the female body as a paradigm of representation, the body abandons the distance with the landscape and the embrace occurs between the represented objects.

Ramírez seeks the liminal spaces of representation between the real and the fictional, between the narrative construction of a coherent landscape that meets the subjective simulation of an unknown space.

And, for her part, Quiles' painting is a representation of an idyllic landscape, a symbolic imaginary in which the gaze zooms in and out at will to extract the landscape from the forces that sustain it.

Have a Dreams to cross the Reality ,is a plea for contemporary landscape painting that does not reject the utopian projection and, as a political response, clings to the return of the evocative. A painting that is reformulated with respect to the hegemonic currents of the 20th century as it loses the center of the body before the pictorial action, in favor of a questioning of the body itself before the symbols that represent its presence. It is no coincidence that this speech is delivered in the sum of the production of three women painters. The landscape, as a mental construction in the face of reality, cannot escape the significance of the body of those who analyze it and those who approach it; Representation cannot be indifferent to the biopolitics of space, nor to the identity of the gaze.

Welcome, learn how to dream

Estructuras constantes “Estructuras constantes” (Constant structures) converges in a spatial encounter of volumes and blueprints, the name of the exhibition has been imported from the theory and harmony of jazz and popular music. It refers to a consecutive progression of chords with different root notes that unites disparate tones into a cohesive entity.

A musical perspective transcended and surpassed in form. From the process of emptying to ensure that the void fills the work, that the emotion arrives without the need for explanation. Of art that excites without being explained, and of art that needs an explanation to excite. In Constant Structure we are going to talk about serene art, and that which is located on the side of permanent search; of the critical, of looking and feeling, of feeling and getting excited. Of creation as an encounter: approach, reading and reflection.

Two artists: Amparo Tormo (Valencia 1960) and Leo Burge (London 1991), meet in a suggestive dialogue, in an inspiring chord where the perceptions of both aesthetic realities are confronted, allowing us to compare and reflect on the artistic practices of both, as well as the interference of language between generations and the universes that unite and separate them.
The bet is to reflect on the encounter and verify that there are works that are close to each other – in a non-hierarchical or linear way –, establishing dialogues by themselves.
Hence this timeless game of symbolic or visual correspondence, where you can almost see, in a rhythm of constant structures, processes and transformations, different ways of addressing the same topics such as the survival of schemes, materials or themes. Light and shadows induce us to observation, to an analysis of what is essential; to reduce elements in a search for harmony, interrogating the limits of the sensitive and expressive capacity of the materials, with rigor, with perfection... it leads us to encounter slow changes that confer clarity, precision and objectivity to the work, thus achieving a logic composition of elements, although singularly structured.

As we walk through the exhibition, the line guides us through the length of the room, furrows it and interrupts it, as if it were a chord.
The works function as sounds and harmonies in space, some whisper, others beat in a legato, while the viewer wanders, between folds and structures, shadows and lights that waver around the plane, as if they were harmonics that rise and fall to achieve a melody.

Leo Burge's voice intersects with Amparo Tormo's murmur, one with the other, the other with the one. A succession of planes, lines, footprints, traces and shadows between volumes that present the invisible as a story, where there is precisely no “story”.
A constant structure as a result or escape, a perfect harmony, impossible to catch.
Estructuras constantes are arranged like jazz intervals, the works of Leo Burge and Amparo Tormo achieve moments of dissonance and harmony through repetition and serial variation, the contrast of two or more views and what emerges from them as representation. The use of robust and industrial materials by artists often conflicts with the lightness and ethereal fragility that their works embody, a dichotomy always present in this pentagram, from minimalism, to process art. We see how they are articulated, come together in distilled forms, atmospheres and textures that invite us to take our time and contemplate this staging