Arte por Excelencias - - España -

As in the old days the uni­ver­sal ex­hi­bi­ti­ons we­re a re­flec­ti­on of the new­ness in the ar­tis­tic fi­eld, the 36th Edi­ti­on of Arco has pre­sen­ted the cur­rent cre­a­ti­ons of ar­tists from dif­fe­rent coun­tri­es - in­vi­ted: Ar­gen­ti­na - wit­hout for­get­ting the past and spe­aking, in turn, of the Fu­tu­re that is to co­me. Far from vain and sen­sa­ti­o­nal news, pain­tings, sculp­tu­res, per­for­man­ces or vi­de­os ha­ve gi­ven li­fe to Ife­ma Pa­vi­li­ons 7 and 9, making it cle­ar that the what is con­tem­po­rary has dif­fe­rent vi­si­ons and that the con­tro­versy is just one of them.

This fair, like everyt­hing re­la­ted to art, has the capa­city to af­fect the vi­ewer in one way or anot­her. Thus, at first, she will be a vic­tim of that syn­dro­me des­cri­bed so well by Stend­hal and that has be­en bap­ti­zed with his na­me. This sen­sa­ti­on will ac­com­pany you at all ti­mes and will not le­a­ve you un­til you de­ci­de to mi­mic the en­vi­ron­ment and be­co­me one mo­re sam­ple. This, far from being so­met­hing un­re­al, can be ob­tai­ned with pro­po­sals like that of Ra­fa­el Lo­za­no-hem­mer in the Madrid ga­llery Max Es­tre­lla.

Only open your eyes and walk in a laby­rinth with multiple pro­po­sals that co­ver all ty­pes of pu­blic, only ve­to­ed by the high pri­ce of entry. Exam­ples of this are works that take as ba­sis the li­te­rary world.

Art works mo­re sett­led and re­cog­ni­zed al­so ha­ve their spa­cet­he most ex­pen­si­ve of the en­clo­su­re - and always wai­ted by the pu­blic. Thus, they could see cre­a­ti­ons of Ale­xan­der Cal­der, Sal­va­dor Da­lí, Pa­blo Pi­cas­so or Ju­an Muñoz. The in­flu­en­ce of the gre­at mas­ters was al­so felt in exam­ples like pro­po­sals by the Ar­gen­ti­ni­an Bar­ro.

And it is that everyt­hing has ro­om in this fo­rest in which the works ha­ve not stop­ped growing as ti­me pas­ses in a clock lying on the ground.

The spec­ta­tor, al­re­ady tur­ned in­to work, has left its mark par­ti­ci­pa­ting in va­ri­ous ac­ti­vi­ti­es. Pro­of of it is a ph­ra­se writ­ten in a post-it that could be re­ad in the spa­ce Ar­cokids: “You ha­ve trans­for­med the art in a bru­tal ca­pi­ta­lism”. Dif­fe­rent vi­si­ons, on dif­fe­rent days, in which the­re is always so­met­hing to vi­sit.

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