COLLATERAL EVENT of the 59th INTERNATIONAL
ART EXHIBITION - LA BIENNALE DI VENEZIA
23 04 2022 - 27 11 2022
Signum Foundation. Palazzo Donà, Venice
As an initiative of the Odalys Foundation and the Signum Foundation, with the support of El Museo
Nacional y Centro de Investigación de Altamira (Ministerio de Cultura y Deporte, Spain), they have
enabled an intervention project in the Palazzo Donà, which includes several site-specifi c projects
conceived for different rooms of the Palazzo.
It is a group of four young artists (Ruth Gómez, Nuria Mora, Daniel Muñoz, and Sixe Paredes) whose creation process has a characteristic in common: the desire to share their vision of the world through art. In such a way that these interventions now in the space of the Palazzo could be defi ned as a set of micro-narratives from the personal territory of each artist, a territory that is public -now- but also unchallenged, because of its historical burden.
Artists who have worked on the place, relating each of them a wall/fl oor or room of Palazzo Donà. The artists have created a work located either on the wall or on the fl oor, or deployed tridimensionally, avoiding affecting the structural or historical elements of above mentioned Palace. A multiple work in the interior lobby of the Palazzo, in the form of a large assemblage of images, with images provided by the National Museum and Altamira Research Centre, evokes the Altamira Cave (which is also visited through moving images). The sounds can be found in the solitude of the cave, next to the well of the Palazzo.
CON LAS MANOS CRECEN LOS SIGNOS
WITH HANDS SIGNS GROW
CON LE MANI CRESCONO I SEGNI
23.04.2022 – 27.11.2022
VIP PRE-OPENING | 20.04.2022 - 12:00 pm.
MEETING WITH THE ARTISTS | 04.21.2022 - 12:00 p.m. It will be broadcast live through the project's instagram (@withhandsssignsgrow)
DURATION OF THE EXHIBITION from 04.23.2022 to 11.27.2022 | 10:00 a.m. - 6:00 p.m. (from Tuesday to Sunday) / Monday closed
COLLATERAL EVENT 59th Biennale di Venezia
Alfonso de la Torre
Juan Carlos Moya
Paulina Przyborowska, Signum Foundation Palazzo Donà
Artist Ruth Gómez (Valladolid, 1976) (Valladolid, 1976) has developed Caves, a mural set of great dimensions that, as a study, and taking as a reference the synthesis and abstraction of Paleolithic images, goes into the most primitive and pure creative process. It aims to capture what was important for our ancestors: Mother Earth, animals, and concepts such as fertility and spirituality. It uses materials such as mineral and natural pigments, Chinese ink made with soot, resin, coal, graphite, plaster or clay, which she uses with brushes and even with her own hands on cotton papers. She combines this technique with adhesive images to create a mural of images, supported by both reality and fiction. Ruth Gómez has participated in international fairs such as Art Dubai, Art Lisboa or ARCOmadrid and her work has been shown in museums such as the CAC in Malaga; MNBA in Buenos Aires; or the MOCA in Seoul, among others...
Nuria Mora (Madrid, 1974) proposes in XYZ-Transcending Physical Limits a two-dimensional piece composed of different canvases that unfold in the x, y, z axes and simulate the way in which, little by little, the cave was discovered. From an initial unfolded piece - in square format and with linen canvases - the work opens as a polyptych in several phases, passing from the black, ochre and red colors (used in Altamira) to the artist’s own palette. This display uses color as an excuse to talk about the evolution of man, while the three-dimensional space itself emulates the importance of Altamira as a meeting place. Nuria Mora began her career with mural painting and artistic interventions in urban space. She has exhibited her work in galleries and international museums such as the Tate Modern in London or the Museum of Contemporary Art in Johannesburg.
The work of Daniel Muñoz (Moraleja, Cáceres, 1980), on the other hand, is focused on mural art and his discourse has always addressed issues related to the modification of the environment by the individual. In Drag image he raises a series of questions around the image as an element of construction of the social space, where different historical substrates stand out, which evidence the importance of mural drawing as the first edifying language of humanity. It aims to show that, since the Paleolithic, the conjunction of drawing and architecture has been linked to social cohesion and the foundation of common thought. Daniel Muñoz has made numerous interventions and exhibitions in cities in Europe, America, Asia and the Middle East, including art centers such as the BACC Museum in Bangkok (Thailand), the National Art Gallery of Amman (Jordan) or galleries such as Walter Otero (Puerto Rico).
Last but not least, the artist Sixe Paredes (Barcelona, 1975) proposes a double work in the palazzo. On one hand, Paleolithic futurism, a muralistic proposal that starts from the moment in which the ancient masters of the Paleolithic were invoked by the shapes of the cavities of the caves. The series of paintings tells us about refl ective, hypnotic and profound works, evoking a language that refers to the different dimensions and directions in space. On the other hand, the artist presents an important fabric assembly, built for the occasion. Sixe Paredes began his artistic career in graffi ti in the late eighties and in the nineties began to work also on painting, sculpture and installation. His work represents one of the most notable Spanish references, intervening in 2008 the facade of the Tate Modern in London...