<p><span style="color: #373e4d;">Eryk Pall completed his studies in art and illustration as well as comics and animation from France. Two years ago, he chose Málaga to start exhibiting his works. Since then, he has participated in several group exhibitions (such as Caja Blanca, Sala Fundación Cruzcampo, Espacio Cienfuegos). He considers drawing as a universal language, like Esperanto, through which one can describe what cannot be seen. He is fascinated by all that can be found in that limbo, between the eye and the brain. He likes to draw things that don&#8217;t exist to break all communication barriers and open a door to the fantasy and surrealism he sees everywhere. He also uses art as a medium to find a sense of reality, to understand how it works, how it moves and how it transforms.  Through this collection of 15 drawings, created in February 2014 and March 2015, Eryk Pall manifests his concerns over the following anthropological and philosophical questions: Does some kind of switch exist? Do I have power over it (to use it)? If so, how would I use it? (text by Violeta Niebla). <em>(text by Violeta Niebla).</em></span></p>
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Eryk pall:  ON | OFF

<p>&nbsp;</p>
<p><strong><em>B</em></strong>ox Pópuli</p>
<p>When we were kids, every time we found a cardboard box, our imaginations would instantly run wild and we could think of a thousand ways to use it. Thick carton was the best; we would carefully unfold it and break it into pieces large enough to sit upon. Sometimes two or three pieces came out that had to be shared and the lucky ones would take theirs to the slide and play for hours, going up and down. We also made houses on the terrace of my house, the cardboard could be easily manipulated and we could make doors and windows on it, draw locks, write sentences, put our name, etc. It would keep us entertained for several hours. We kept the smaller boxes for my brother Pepe who built cars with them. He would accurately cut out pieces for making car bodies, fit plastic pieces into their window openings and attach wheels of other toys.</p>
<p><iframe loading="lazy" title="Box Pópuli" width="500" height="375" src="https://www.youtube.com/embed/jxfNrG50RZY?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>


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Box pópuli

<p><span style="line-height: 1.5;">I discovered cinema in my neighbourhood, specifically in the Monumental cinema, where the session was continuous and we spent our lives from 4 in the afternoon until 9 or 10 at night. I watched the films over and over again. There I met actors and actresses in unforgettable films that took me to cities and situations from which I learned that there were other landscapes and other people who talked about other things. I saw how you could fight for your ideals and how you could die of love, I also saw human wickedness and how they laughed at Dumbo because he had big ears, I felt irremediably identified. My first sexual games also took place in that cinema, although not on the screen, but in the stalls.</span></p>
<p>For this exhibition, included in the MaF circuit and coinciding with the Spanish film festival, I wanted to pay homage to cinema in my own way. I haven&#8217;t tried to find my favourite films, not even the best ones, just the ones that have allowed me to continue with my work, although on this occasion I&#8217;ve made a fun nod to the 7th art. In this series I use dioramas again, about fifteen works made with different materials, but better &#8230; come and see it!&#8217;       ( Juanjo Fuentes )</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p><a href="https://vimeo.com/205813983?ref=fb-share&amp;1">VIDEO OF THE EXHIBITION</a></p>


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CONTINUOUS SESSION &#8211; ( SESIÓN CONTINUA )

<p>&nbsp;</p>
<p><a href="https://vimeo.com/197066347?ref=fb-share&amp;1">https://vimeo.com/197066347?ref=fb-share&amp;1</a></p>


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FABRIC &#8211; ( TELA )

<p><em>In this exhibition at the Gravura workshop I present a series of small-format works in which I continue to investigate the influence that scale can have on the viewer&#8217;s perception. They are not models, as they have sometimes been called, although I have used some of them as models to take them to a dimension more in keeping with the need to be inhabited. With these sculptures I want to establish a game, in which I invite the spectator to reduce their dimensions and visit them, experiencing an unreal space-time. All the power is in the imagination.</em></p>
<p><em>In addition to these individual spaces, I introduce works with an installation character in which I combine different geometric and organic elements in search of the balance that nature possesses.</em></p>
<p><em>These are my cities.</em></p>
<p><em>The idea of building them has been with me for a long time, as long as I can remember; but it was after reading Italo Calvino&#8217;s Invisible Cities that I seriously considered the possibility of having my own cities with certain characteristics that make them different from those imagined by this writer: mine &#8211; for example &#8211; are real. But, like Calvino&#8217;s, they can only be inhabited with the imagination.</em> Antonio Yesa.</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p><a href="https://www.youtube.com/watch?v=SPpBameBXn4">VIDEO OF THE EXHIBITION</a></p>


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Common Places &#8211; ( Lugares Comunes )

<p>&nbsp;</p>
<p style="padding-left: 30px;"><em>Let&#8217;s wind up the dream of balance and its game,</em></p>
<p style="padding-left: 30px;"><em>that it weaves in its vertigoes leaning out into the void</em></p>
<p style="padding-left: 30px;"><em>the mischievous fishing of an Orwellian and Hamelinian elf,</em></p>
<p style="padding-left: 30px;"><em>carrying on his shoulders, without ceasing to whistle his adventure,</em></p>
<p style="padding-left: 30px;"><em>the child bee in a weightless fiction of childhood and chalk,</em></p>
<p style="padding-left: 30px;"><em>the acrobat drying his flight as a suspended metronome,</em></p>
<p style="padding-left: 30px;"><em>a sidereal spy dancer untangling the rhythm,</em></p>
<p style="padding-left: 30px;"><em>the anisopter skier in the white snow of the slippery air.</em></p>
<p style="padding-left: 30px;"><em>Eagerness, gesture, string of an alphabet of swaying dreams,</em></p>
<p style="padding-left: 30px;"><em>if its instant is stretched taut on the edge, threatening metamorphosis</em></p>
<p style="padding-left: 30px;"><em>metamorphosis threatens, the pirouette is fulfilled:</em></p>
<p style="padding-left: 30px; text-align: left;"><em>Fear grows wings, happiness flies over.</em></p>
<h6 style="padding-left: 30px; text-align: right;"><em>( Text by Guillermo Busutil for the folder «Los ángeles nómadas» )</em></h6>
<p>&nbsp;</p>
<p style="padding-left: 30px;">The exhibition will present the first collectable portfolio of prints «Los ángeles nómadas» published by Taller Gravura. It consists of five prints by the artists; Chema Lumbreras, Vargas Machuca, Mari García, Eryk Pall and Paco Aguilar, with the literary collaboration of Guillermo Busutil.</p>
<p style="padding-left: 30px;">Hahnemühle paper of 300 gr, in a format of 14.5 x 63 cm, has been used for the engravings, which are printed using the following techniques: etching, aquatint, soft varnish, drypoint and photoengraving on solar plate. The edition is presented in a light grey corrugated cardboard box.</p>
<p style="padding-left: 30px;">The edition consists of seventy copies numbered from 1/70 to 70/70, seven author&#8217;s proofs numbered from I/VII to VII/VII and two workshop proofs. The printing was carried out by the master engraver Paco Aguilar and took place during 2017 on the Gravura presses.</p>
<p style="padding-left: 30px;">Mariana Martín and Inmaculada Carrasco have collaborated unconditionally to bring it to fruition.</p>
<p style="padding-left: 30px;"><img loading="lazy" class="aligncenter size-full wp-image-18773" src="https://gravura.es/wp-content/uploads/2017/12/2967_MARTINDEARRIBA-GRAVURA-1.jpg" alt="" width="1476" height="984" /></p>
<h6 style="padding-left: 30px;">Production process of the «Nomadic Angels» print portfolio.</h6>


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The Nomadic Angels &#8211; ( Los Ángeles Nómadas )

<h4>Exhibition presented as part of<em> ABIERTO MAGA / Málaga Gallery Weekend</em>, held on 23rd and 24th October.</h4>
<p>«In the making of an intaglio engraving, proofs called P/E are stamped, they guide us during the process, as they allow us to see the changes we make in the plate. Part of these proofs, from the engraving <em>Venus and boot that I made in 1998</em>, are the ones that I have intervened manually, with paint and various coloured pencils. In the process I have reserved parts of the original engraving and transformed the rest. The result is 19 unique pieces, 11 of which will form part of this exhibition.</p>
<p>An artist of American Abstract Expressionism, Philip Guston abandoned abstraction to move into figuration in a style that would have a notable influence on later artists. The idea of revisiting Guston again, starting from this support of recovered state evidence, has given me room to reinterpret his work in an ironic key and with a certain black humour.</p>
<p>I was interested in the confrontation between the classical and the modern, between the sublime and the everyday; in my original work <strong><em>Venus</em></strong> confronted with a boot. All the works are resolved in the context of a stage with a previous performance which in turn will be intervened with various acts. A theatre of the absurd with an imaginary staging.</p>
<p>It seemed to me that this project was closely linked to the exhibition space of the Gravura Gallery as it is the workshop where I made the original engraving and where the whole editing process was carried out». <em>Rafael Alvarado, Málaga October 2020.</em></p>
<p>&nbsp;</p>
<h4>Obra Gráfica Intervenida</h4>
<p>&nbsp;</p>
<p><img loading="lazy" class="alignnone wp-image-20649 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-1.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-1.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-1-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20651 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-2.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-2.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-2-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20653 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-4.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-4.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-4-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20655 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-5.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-5.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-5-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20657 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-3.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-3.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-3-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20659 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-6.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-6.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-6-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20661 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-9.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-9.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-9-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20663 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-10.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-10.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-10-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20665 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-7.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-7.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-7-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>
<p><img loading="lazy" class="alignnone wp-image-20667 size-full" src="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-8.jpg" alt="" width="550" height="375" srcset="https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-8.jpg 550w, https://gravura.es/wp-content/uploads/2020/10/rafael-albarado-8-540x368.jpg 540w" sizes="(max-width: 550px) 100vw, 550px" /></p>


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Lunes a Viernes de 11.00 a 14.00 y de 17.30 a 20.30h.

SKY AND TIME ( Cielo y tiempo ) &#8211; Rafael Alvarado ( Tribute to Philip Guston )

<p>&nbsp;</p>
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<p style="padding-left: 30px;"><a href="https://gravura.es/wp-content/uploads/2018/06/catálogoPedroMaruna.pdf">Pedro Maruna Catalogue</a></p>
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Engravings &#8211; ( Grabados )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura Workshop funds</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Funds 04</h3>
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Gravura Workshop funds &#8211; ( Fondos del Taller Gravura )

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Gallery&#8217;s collection of works &#8211; ( Fondo de obra de la galería )

<p>&nbsp;</p>
<p>&nbsp;</p>
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<p style="padding-left: 30px;">PROJECT FOR PARTICIPATION IN MaF MÁLAGA DE FESTIVAL 2018</p>
<p>&nbsp;</p>
<p style="padding-left: 30px;">The starting point for this project is the idea of recovering the musical work of Fanny Mendelson (&#8216;the silenced sister&#8217;), a classical composer also known as Fanny Hensel.</p>
<p style="padding-left: 30px;">Both she and other women of her time were forbidden to compose, a social imposition that stemmed from the idea of the morality of the times in which they lived. This is the case of Fanny Mendelssohn, Nanner Mozart, Alma Malher and Clara Schumann among others.</p>
<p style="padding-left: 30px;">Both Fanny and Nanner were child prodigies. Clara Schumann was able to pursue a professional career with the help of Felix Mendelssohn, who, however, did not think it appropriate for her sister Fanny to follow that path.</p>
<p style="padding-left: 30px;">«Music may be Felix&#8217;s profession, but for you it can or should only be an ornament. It must not and cannot be the foundation of your daily existence and life» (Abraham Mendelssohn, Fanny&#8217;s father, letter of 16 July 1820).</p>
<p style="padding-left: 30px;">The education of the time and her destiny to be a wife and mother, silenced the greatness of the music of these composers. In the case of Fanny, she was the author of 466 pieces of music, of which only a small part is known today, most of which remain unpublished in the hands of private collectors.</p>
<p style="padding-left: 30px;">It was a predecessor of the «songs without words» genre.</p>
<p style="padding-left: 30px;">Felix Mendelssohn agreed to integrate some of his sister&#8217;s compositions by passing them off as his own. They thought that this was the only way Fanny&#8217;s work could be made public. They created by sharing what they did, they were very close, in fact Fanny often corrected Felix&#8217;s compositions.</p>
<p style="padding-left: 30px;">In 1842, during a reception in tribute to Queen Victoria, she enthusiastically addressed Felix, telling him that one of his compositions, &#8216;Italia&#8217;, was her favourite. Felix informed the queen that it was in fact his sister&#8217;s work.</p>
<p style="padding-left: 30px;">Fanny died of a stroke at the age of 41 while rehearsing the last piece her brother Felix had sent her. He died a few months later.</p>
<p style="padding-left: 30px;">FANNY MENDELSSOHN HENSEL (Hamburg, 14 November 1805 &#8211; Berlin, 14 May 1847) «I am alone with my music. The pleasure it brings me prevents me from giving up and, given the total absence of external support, I build my persistence as proof of my talent». Letter of 15 June 1836 to Karl Klingemann.</p>
<p style="padding-left: 30px;">The work that will form part of this project I present will be drawings, ceramics, artist&#8217;s books and small objects that will be inspired by the works «Sonata nocturno in G minor», «piano trio op 11» and «Alegro molto» among others and the projection of a video art (Concept (described by the artist herself).</p>
<p style="padding-left: 30px;"><a href="https://www.youtube.com/watch?v=SnHCAWW2nhQ" target="_blank" rel="noopener noreferrer">Video art «Songs without words».</a></p>
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Songs without words &#8211; ( Canciones sin palabras )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">5th International Meeting in Belgrade</h3>
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<p><iframe loading="lazy" title="GRAVURA - Grabados en Belgrado" width="500" height="281" src="https://www.youtube.com/embed/59Mjbcnxb8c?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>


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5th International Meeting in Belgrade &#8211; ( V Encuentro Internacional en Belgrado )

<p>&nbsp;</p>
<p>A STORY ABOUT CINEMA / EVA POYATO</p>
<p>By Marta Zafrilla</p>
<p>&nbsp;</p>
<p>Once upon a time, there was a writer who told stories with colours instead of words. On the nights of the waning moon, just on the verge of red and blue, princes without kingdoms emerged from Eva Poyato’s paintings in search of an impossible love. The birds, all with happy childhood memories, nested in the spot with the exact millimetre where the eye never looks. Their songs, colours and wings, sprang out the back of the paintings, just when the viewer turned to walk away and thought that he/she was listening to a magical melody and it would enfold the memory of the piece forever.</p>
<p>&nbsp;</p>
<p>The black and the white will not have the usual meaning of light and shadow in her works, not even of the background and the silhouette; in Eva’s paintings, black will represent the narrative power of words printed on the ceiling of the dream, with the belly full of unique stories kept hidden to take the viewer by surprise at the most unexpected moment. These stories will not once be narrated but whispered, in every colour combination that is incorporated in her paintings, suggested but always open to invention, waiting for the viewer to close his/her eyes and finish them in the dream.</p>
<p>&nbsp;</p>
<p>Anyone will be able to observe how the temperature in her works is always different from the surroundings of the painting, the seasons do away with the calendar with the sun hopping on the cold and the snow over the rainbow without conforming to any logic.</p>
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<p>From experience, let me tell you that reality tends to surprise you in the interpretation of her paintings and if you threw the fishing rod in one of the rivers that sprang from Eva’s brush, you would find clouds, you would hunt whales on the cliffs and find trees in the puddles.</p>
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<p>Unlike other artists’ exhibits where you are asked to maintain distance, as a present from this brilliant poetess, the visitors will receive the work, and not the other way around, and will take turns like in case of a sculpture, based on the distance which is indicated down to the millimetre, jumping sideways to try to catch the characters off guard, talking to each other as you would in a museum about which Cortázar never wrote. You will need a magnifying glass or the sight of an eagle to be able to become amazed by the accuracy of details; you will also need the imagination to respond to the gestures of each of Eva Poyato’s works where the story is latent and always ready to be invented.</p>
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<p>Observer, please be advised that the aura of your magical tales will permeate your eyes forever, as a result of which you will be willing to be seduced by the light of happiness, the surprise of the future and the vibrant memory of pleasant dreams.</p>
<p><a href="https://www.youtube.com/watch?v=T-88cS2x5u4">Exhibition video</a></p>


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A Tale of Cinema &#8211; ( Un Cuento de Cine )

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Sign and rhythm &#8211; ( Signo y ritmo )

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Return to Ithaca and other Greek myths &#8211; ( Regreso a ítaca y otros mitos griegos )

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<p><strong><span style="line-height: 1.5;">Francisco González Romero, or the passion to create</span></strong></p>
<p><span style="line-height: 1.5;">Rafael Valentín López Flores &#8211; Doctor of Art History</span></p>
<p>Passion, exuberance, vitality, enthusiasm&#8230; these are some of the countless attributes that we can associate with the most prominent works of Francisco González Romero. Multifarious, diverse and always worthy of admiration, his creations are truly magnificent in each form, even more so when the experience acquired, through the years of experiments and disappointments, has never given way to boredom or detachment. They reflect a wide range of virtues, sometimes relatively obscure, from which we have picked, on the occasion of a new public display of his works, perseverance and curiosity.</p>
<p>Years ago, González Romero, the creator of an extensive and versatile collection of pieces, could have chosen to be contented with his fine art expressions, refining and remodelling them from the comfort of his bright studio in the heart of Málaga city centre, but he did not. Paco–as those of us who have the privilege of being his friends call him–creates like a “young” painter even in his 92nd year and he does so by constructing a creative universe that is marked by symbols and geometry; a pictorial world that has been in existence for over seven decades and that, far from turning mouldy or stagnant, breathes vitality and novelty through each of its pores. A world between two millennia that our painter, armed with very high doses of knowledge, inexhaustible reserves of energy and large storage of curiosity, encounters fearlessly, hand in hand with the tireless study of new aesthetic, philosophical and pictorial perspectives, deepening his knowledge of contemporary art and the avant-garde to adapt his view to the culture that surrounds him.</p>
<p>Today, after a lifetime dedicated to artistic creation, cultural promotion and education, Paco offers us the opportunity to delve into a new dimension of his multifaceted personality; once again he has amazed us by showing us his prolific creative universe through the use of new media and new techniques. González Romero has embarked on his new journey as an engraver, moving to the plate, equipped with burin and scraper, his latest aesthetic investigations into the process that he calls “Evolution in art”, and the result will, undoubtedly, leave its mark on the viewer.</p>
<p>Backed by the rigour and calibre of every good artist who has received formal training in the discipline, and well versed in the solid standards of architecture and interior design, Paco González Romero, during his extensive career, has provided us with various readings of the same creative passion embodied in the most diverse themes that are truly remarkable with their assertiveness, unique landscapes, still lifes, figures and interpretations of the sacred elements.</p>
<p>Today, with new techniques and new media, we contemplate the results of his painstaking research. With regard to the vision of the works, at first glance, it is worth noting that we are not looking at a painter of “sacred” works, not in the least. His vision, entirely aniconic, can be identified with complex linear schemes, colourful uniform planes enriched by superimpositions and subtle glazes, schematic figuration, colour schemes that range from a sharp contrast to a musicalised poetic rhyme, from deep black to the subtle pastels, a precise drawing or a characteristic style, a mark of style in the form of signature, symbol, or “written” presence of the creative spirit, which González Romero has repeated in his series: three vertical stripes that constitute an emblem of the painter&#8217;s intimate artistic “trinity”.</p>
<p>Despite the apparent apathy, based on geometric elements, planes and symbols, his interpretations are not lacking in spirituality and, perhaps, even indicate a certain “devotion”. However, in this case, the spirituality and devotion arise primarily from the internalisation of philosophical teachings, abstract concepts and aesthetic extremities of the art forms. They are expressed through symbols, complex geometries–in which, according to some, the perfection of divinity itself resides–and spaces that, despite their physical flatness, lead to a remarkable, almost infinite, spatial configuration which serves as the most appropriate background for unfathomable mysteries that González Romero produces with his brushes through truly symbolic diagrams whose universal inspiration underlies the immutable power of geometries.</p>


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First Exhibition of Graphic Works &#8211; ( Primera Exposición de Obra Grafica )

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Landscapes of memory &#8211; ( Paisajes de la memoria )

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Graphic work &#8211; ( Obra gráfica )

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Nothing touches the ground. plots &#8211; ( Nada toca el suelo. tramas )

<p>The project “Ceci ce n´est pas du cinema/Esto no es cine” is about films that have stuck in the corners of my mind over the years. Artworks in the form of movie posters, others that are based on a sentence, a cry, a fragment or an image and have served as an excuse to produce a work that has a lot, little or nothing to do with the essence of some of the films. The characters in these stories, their remarks, and their problems are what people usually tend to have and as John Ford once said about his films: “everything is fiction here and yet everything is true”. (Moisés Yagües)</p>
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This is not cinema &#8211; ( N´est pas du cinema &#8211; Esto no es cine ) | Moisés Yagües

<p>Luis Vásquez’s exhibition at the Galería Taller Gravura in Málaga is only part and summary of a much broader and more complex work.</p>
<p>It all started during his vacation in Morocco a long time ago. The seductions of Africa instantly worked their magic on Louis as he found himself, like so many other Europeans for centuries, in the “promised land”, the land where he could rediscover Paradise. His increasingly prolonged stays, life among the locals and new experiences opened a world of possibilities that an artist is always seeking to channel into his unique creations.</p>
<p>Luis is a “constructor” almost in the literal sense of the word. His dedication and ability to capture the properties of matter, as well as to skilfully transform it, demonstrate his vocation as a sculptor in the broadest sense of the practice. However, he is often driven by sentiment and is not contented by mere discoveries; he needs to express them in a creative and thought-provoking manner that manifests the courageous commitment of an activist and is cut off from the intimate exhibitionism.</p>
<p>In a specular and symmetrical process, on both sides of the strait, there is someone who wishes to cross over to the “other side of the shore”. Those on the European shore are lured by the mysteries and colours of Africa, the hope to rediscover a pristine world. For others, it is their predatory inclination that compels them to exploit, plunder and pillage its natural wealth. And then there are those on the other side, in Africa, who are fascinated by the sparkling lights they observe from Tangier—just fourteen kilometres away&#8230;had it not been for the sea, it would be like going for a walk—the golden glitter of consumerist well-being sold by the hoardings, and the promise of work, rights and freedom.</p>
<p>This apparent and harmonious symmetry breaks with the existence of the border, the interruption of flows and the cynical indifference of almost everyone. The Pillars of Hercules indicate two possibilities of passage, depending on the “circumstances” of the passer-by. For most Africans, they represent “NON PLUS ULTRA” (Nothing further beyond).</p>
<p>Luis Vásquez’s work is a source of observation and reflective criticism; it is an operational instrument to raise public awareness about this tragic situation in order to get the political powers to find a solution.</p>
<p>This exhibition displays six of his artistic creations that summarise some of the most significant events in his tempestuous journey and their consequences.</p>
<p>The artist uses a non-literal language, breaking away from the harsh expressionism that this subject calls for, opting instead for metaphorical, abstract and symbolic elements. The only concession is reduced to colour, associated with African references and some photographic records of no particular anecdotal value.</p>
<p>It is quite remarkable how the elegance and precision in his style lend a frigid aesthetic refinement to a burning issue.</p>
<p>The instruments used to describe the landscape are not mimetic but scientific: the bathymetric maps and lines have a three-dimensional link to the cube and the cuts. In both cases, as description and significance of the narrative: routes of direction and position, incisions that interrupt them, that are “detached from life and hope”.</p>
<p>The mirror identifies the observers with the protagonist and obstructs their evasion, compelling them to reflect on the possible reciprocity of personalities and the roles that we are playing, perhaps, only for the moment.</p>
<p>Fate is unpredictable and often decisive. The game is presented as a battlefield where sometimes—with a satirical sense of humour—you end up losing or disappointed with a “pyrrhic” victory at best. THE DIE HAS BEEN CAST&#8230; the dice are rolling on the board.</p>
<p>The artist states that the Earth in bird’s-eye view appears very similar to the earth seen from a close range. The scales and models make it possible to describe the terrains through miniatures. Small pieces such as the “toy-like” aluminium caskets or the Pillars of Hercules that are reduced to a decorative object ironically allude to the enormity of the tragedy and the magnitude of the barriers.</p>
<p>Finally, a remnant found on the shore, dragged and shattered by the sea, that once belonged the tiller of a boat, evolves into the dramatic image of a broken, tormented, defeated man: the undocumented, illegal immigrant.</p>
<p><em>Alberto Oliver, Professor of Art History at the Faculty of Fine Arts of Seville</em></p>
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Monday to Friday from 11.00 to 14.00 / 17.30 to 20.30

ALBORAN SEA. The immigration landscapes &#8211; ( MAR DE ALBORÁN. Paisajes de la inmigración )

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<p><a href="https://youtu.be/cpPZhNqiTbs" target="_blank" rel="noopener noreferrer">Exhibition video</a></p>


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WOOD, PAPER, SCISSORS &#8211; ( MADERA, PAPEL, TIJERA )

<p>The relationship between man and nature expressed through the process of drawing has been an occasional theme in my works, but it is becoming more and more recurrent, or rather crucial. In “El ojo y la raíz”, like many other works, the starting point is a question: How do we respond to the image of a tree that has been standing tall for over 4800 years?<br />
Here are a handful of answers that are personal, and perhaps communicable, and that seek to explore, by way of reflection, this relationship between the natural elements (represented by the root that is embedded in the earth as well as in man) and the human features (represented by the eye that burns before the complex sight, the ancestral face).<br />
Because it is in this outward observation, that at the same time compels us to turn our face inward, where the cycle is completed.<br />
Note:<br />
This exhibition will be held simultaneously with another exhibition, Anábasis, at San Telmo School of Art (opening: 4 June). Two sides of the same coin.<br />
Javier Roz</p>
<p>&nbsp;</p>


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The eye and the root &#8211; ( El ojo y la raíz ) | Javier Roz

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<p><strong>Interludio para surco y cuerda (Interlude for groove and cord) Graphic work by Fernando de la Rosa.</strong></p>
<p>According to the Spanish dictionary DRAE, the term  <em>interlude</em> is derived from the Latin <em>interludere</em>, which means “to play at intervals”. For Fernando de la Rosa, who has not abandoned the playful sense that influences all of his works, the musical thinking is by far the most significant factor that articulates the composition and chromatism, combining movement and sonority in this persistent game where his works on paper evolve.</p>
<p>Among his series of <em>Polinizaciones</em>(pollinations), small-format paintings created until 2012 and the latest paintings of 2014, Fernando De La Rosa has devoted himself entirely to graphic art. He has spent a year producing silkscreen prints, intaglio prints and their editions for the first time at his workshop. An interval between paintings, in which he has gone from composing with the guiding (rhythmic) base of the point and chromatism to constructing from the dynamic (melodic) current of the line.</p>
<p>With this <em>interludio</em>, Fernando de la Rosa invites us to share his experiments with the engraving and the print, in which he also intervenes by painting manually, in an attempt to make a <em>zealously andante</em> headway towards the large-format paintings.</p>
<p><strong>Ángel María Rojo</strong></p>
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Interlude for groove and cord &#8211; ( Interludio para surco y cuerda ) | Fernando de la Rosa

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Hojas de acinco</h3>
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Acinco leaves &#8211; ( Hojas de acinco )

<p><a href="https://www.facebook.com/paco.aguilar.77/videos/1079433715408496/?theater">https://www.facebook.com/paco.aguilar.77/videos/1079433715408496/?theater</a></p>
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Threads &#8211; ( Hilos )

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Loathing of the amorphism. Actaeon &#8211; ( Hastío de la amorphía. Acteón )

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<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">HABITANTES DE MOEBIUS (INHABITANTS OF MOEBIUS)</h3>
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<p style="padding-left: 50px; padding-right: 100px;">“No firefighter, not even an astronaut, surpasses a real Japanese, so it is not clear whether it was the gas which constantly emanates from this island’s volcanoes that forced its inhabitants to wear masks at all times or, on the contrary, some of its inhabitants—similar to the one who chose to roll the rice into pieces of seaweed, use the sword against his own belly or invent the Takeshi’s Castle—decided to distinguish their island from the rest of the world and propose the mask before the volcanic emissions even began.”</p>
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Inhabitants of Moebius &#8211; ( Habitantes de Moebius )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2006</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Estampa 06</h3>
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Gravura at Estampa 2006 &#8211; ( Gravura en Estampa 2006 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2007</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Estampa 07</h3>
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Gravura at Estampa 2007 &#8211; ( Gravura en estampa 2007 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2004</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Estampa 04</h3>
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Gravura at Estampa 2004 &#8211; ( Gravura en Estampa 2004 )

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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Territorio A</h3>
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Gravura at Estampa 2003 &#8211; ( Gravura en Estampa 2003 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2002</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">El Peregrino</h3>
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Gravura at Estampa 2002 &#8211; ( Gravura en Estampa 2002 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2005</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Estampa 05</h3>
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Gravura at Estampa 2005 &#8211; ( Gravura en estampa 05 )

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Monday to Friday from 11.00 a.m. to 2.00 p.m. / 5.30 p.m. to 8.30 p.m.

GRAPHICS

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Graphic art for a crisis</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Graphic art for a crisis</h3>
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<p><a href="https://gravura.es/obras/grafica-para-una-crisis/">+ See More</a></p>


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Graphic art for a crisis &#8211; ( Gráfica para una crisis )

<p><iframe loading="lazy" title="Stefan von Reiswitz" width="500" height="375" src="https://www.youtube.com/embed/HUamtPGMhSI?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
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<p>Fragments of a life&#8230;.</p>
<p>Fragments of different periods of an artist&#8217;s life, enthusiastic about Mediterranean cultures?</p>
<p>Freud and his followers sometimes remind me of old bunches of keys, which once opened doors that no longer exist today. Maybe one day the same thing will happen to me. Some people testify to me that I am a creator of worlds juxtaposed or parallel to visible life, or also to the so-called avant-gardes of my time. I think the thing is simpler: I have never cared about the ever-changing tastes of my contemporaries, which has caused me quite a few problems. I just followed, in a relatively carefree way, my own intuition or let&#8217;s call it my instincts. In this way, I discovered at every moment what seemed to me to be unknown lands and I did not care about anything other than bringing to light fragments of that world, a personal chaos. And I projected it with various techniques, some of them invented by myself. The only aim of these activities was to get to know myself better and to look a little more like myself every day.</p>
<p>What we have put together here is an attempt to show, with a few exemplary objects, how this adventure developed, from the 1950s to the present day, with all its consequences. It was nothing more than a constant search for the balance that I lost at the birth of this marvellously incomprehensible world. If philosophy is concerned with ultimate truths, irony has its sights set on the penultimate ones. Or to quote Carlos Fuentes: <em>Everything is hidden and lies in wait for us</em>. If perhaps you still don&#8217;t understand me now, don&#8217;t take this the wrong way. It&#8217;s exactly the same for me. (Stefan)</p>
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Goblins, Mermaids and Vampires. Parades, bikers and horses. Birds, Myths and other things &#8211; ( Duendes, Sirenas y Vampiros. Comparsas, motoristas y Caballos. Pájaros, Mitos y otras cosas )

Exhibitions

Eryk pall: ON | OFF

Box pópuli

CONTINUOUS SESSION &#8211; ( SESIÓN CONTINUA )

FABRIC &#8211; ( TELA )

Common Places &#8211; ( Lugares Comunes )

The Nomadic Angels &#8211; ( Los Ángeles Nómadas )

SKY AND TIME ( Cielo y tiempo ) &#8211; Rafael Alvarado ( Tribute to Philip Guston )

Engravings &#8211; ( Grabados )

Gravura Workshop funds &#8211; ( Fondos del Taller Gravura )

Gallery&#8217;s collection of works &#8211; ( Fondo de obra de la galería )

Songs without words &#8211; ( Canciones sin palabras )

5th International Meeting in Belgrade &#8211; ( V Encuentro Internacional en Belgrado )

A Tale of Cinema &#8211; ( Un Cuento de Cine )

Sign and rhythm &#8211; ( Signo y ritmo )

Return to Ithaca and other Greek myths &#8211; ( Regreso a ítaca y otros mitos griegos )

First Exhibition of Graphic Works &#8211; ( Primera Exposición de Obra Grafica )

Landscapes of memory &#8211; ( Paisajes de la memoria )

Graphic work &#8211; ( Obra gráfica )

Graphic work &#8211; ( Obra gráfica )

Graphic work &#8211; ( Obra gráfica )

Graphic work &#8211; ( Obra gráfica )

Graphic work &#8211; ( Obra gráfica )

Nothing touches the ground. plots &#8211; ( Nada toca el suelo. tramas )

This is not cinema &#8211; ( N´est pas du cinema &#8211; Esto no es cine ) | Moisés Yagües

ALBORAN SEA. The immigration landscapes &#8211; ( MAR DE ALBORÁN. Paisajes de la inmigración )

WOOD, PAPER, SCISSORS &#8211; ( MADERA, PAPEL, TIJERA )

The eye and the root &#8211; ( El ojo y la raíz ) | Javier Roz

Interlude for groove and cord &#8211; ( Interludio para surco y cuerda ) | Fernando de la Rosa

Acinco leaves &#8211; ( Hojas de acinco )

Threads &#8211; ( Hilos )

Loathing of the amorphism. Actaeon &#8211; ( Hastío de la amorphía. Acteón )

Inhabitants of Moebius &#8211; ( Habitantes de Moebius )

Gravura at Estampa 2006 &#8211; ( Gravura en Estampa 2006 )

Gravura at Estampa 2007 &#8211; ( Gravura en estampa 2007 )

Gravura at Estampa 2004 &#8211; ( Gravura en Estampa 2004 )

Gravura at Estampa 2003 &#8211; ( Gravura en Estampa 2003 )

Gravura at Estampa 2002 &#8211; ( Gravura en Estampa 2002 )

Gravura at Estampa 2005 &#8211; ( Gravura en estampa 05 )

GRAPHICS

Graphic art for a crisis &#8211; ( Gráfica para una crisis )

Goblins, Mermaids and Vampires. Parades, bikers and horses. Birds, Myths and other things &#8211; ( Duendes, Sirenas y Vampiros. Comparsas, motoristas y Caballos. Pájaros, Mitos y otras cosas )

Drawing and Sculpture &#8211; ( Dibujo y Escultura )

Unfolding time and memory in search of self &#8211; ( Desdoblando el tiempo y la memoria en busca del yo )

Of faces and imaginary stories &#8211; ( De rostros y de historias imaginarias )

Stories for macluhan &#8211; ( Cuentos para macluhan )

Drawing collective &#8211; ( Colectiva de dibujo )

Drawing collective &#8211; ( Colectiva de dibujo )

Street 238 &#8211; ( Calle 238 )

«Let&#8217;s take it one step at a time» &#8211; ( Vayamos por partes )

«Latest engravings» &#8211; ( Últimos grabados )

«Nonsense» &#8211; ( tonterías )

«Work on paper» &#8211; ( Obra sobre papel )

«Mutants &#038; Co.» &#8211; ( Mutantes y cía ) | Lorenzo Saval

«Urban metaphors» &#8211; ( Métaforas urbanas ) | Buenos Aires &#8211; Málaga

«Memory of the mouth» &#8211; ( Memoria de la boca )

«Watercolours and oils» &#8211; ( Acuarelas y óleos )

CONTINUOUS SESSION – ( SESIÓN CONTINUA )

FABRIC – ( TELA )

Common Places – ( Lugares Comunes )

The Nomadic Angels – ( Los Ángeles Nómadas )

SKY AND TIME ( Cielo y tiempo ) – Rafael Alvarado ( Tribute to Philip Guston )

Engravings – ( Grabados )

Gravura Workshop funds – ( Fondos del Taller Gravura )

Gallery’s collection of works – ( Fondo de obra de la galería )

Songs without words – ( Canciones sin palabras )

5th International Meeting in Belgrade – ( V Encuentro Internacional en Belgrado )

A Tale of Cinema – ( Un Cuento de Cine )

Sign and rhythm – ( Signo y ritmo )

Return to Ithaca and other Greek myths – ( Regreso a ítaca y otros mitos griegos )

First Exhibition of Graphic Works – ( Primera Exposición de Obra Grafica )

Landscapes of memory – ( Paisajes de la memoria )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Nothing touches the ground. plots – ( Nada toca el suelo. tramas )

This is not cinema – ( N´est pas du cinema – Esto no es cine ) | Moisés Yagües

ALBORAN SEA. The immigration landscapes – ( MAR DE ALBORÁN. Paisajes de la inmigración )

WOOD, PAPER, SCISSORS – ( MADERA, PAPEL, TIJERA )

The eye and the root – ( El ojo y la raíz ) | Javier Roz

Interlude for groove and cord – ( Interludio para surco y cuerda ) | Fernando de la Rosa

Acinco leaves – ( Hojas de acinco )

Threads – ( Hilos )

Loathing of the amorphism. Actaeon – ( Hastío de la amorphía. Acteón )

Inhabitants of Moebius – ( Habitantes de Moebius )

Gravura at Estampa 2006 – ( Gravura en Estampa 2006 )

Gravura at Estampa 2007 – ( Gravura en estampa 2007 )

Gravura at Estampa 2004 – ( Gravura en Estampa 2004 )

Gravura at Estampa 2003 – ( Gravura en Estampa 2003 )

Gravura at Estampa 2002 – ( Gravura en Estampa 2002 )

Gravura at Estampa 2005 – ( Gravura en estampa 05 )

Graphic art for a crisis – ( Gráfica para una crisis )

Goblins, Mermaids and Vampires. Parades, bikers and horses. Birds, Myths and other things – ( Duendes, Sirenas y Vampiros. Comparsas, motoristas y Caballos. Pájaros, Mitos y otras cosas )

Drawing and Sculpture – ( Dibujo y Escultura )

Unfolding time and memory in search of self – ( Desdoblando el tiempo y la memoria en busca del yo )

Of faces and imaginary stories – ( De rostros y de historias imaginarias )

Stories for macluhan – ( Cuentos para macluhan )

Drawing collective – ( Colectiva de dibujo )

Drawing collective – ( Colectiva de dibujo )

Street 238 – ( Calle 238 )

«Let’s take it one step at a time» – ( Vayamos por partes )

«Latest engravings» – ( Últimos grabados )

«Nonsense» – ( tonterías )

«Work on paper» – ( Obra sobre papel )

«Mutants & Co.» – ( Mutantes y cía ) | Lorenzo Saval

«Urban metaphors» – ( Métaforas urbanas ) | Buenos Aires – Málaga

«Memory of the mouth» – ( Memoria de la boca )

«Watercolours and oils» – ( Acuarelas y óleos )