Gonzalo Guzmán (Madrid, 1991) educated as an industrial designer and has been working in sculpture since the time of the pandemic, when he began to have lucid dreams, an experience that can affect up to 50% of the population at least once in their lives. In them, the subject is aware that he is living a dream and from that point he takes control of his development.

Collision is his first solo exhibition at Galeria SENDA, as part of the Art Nou festival, Barcelona’s emerging art festival, which aims to promote the talent of young artists and, among other things, give them the opportunity to exhibit, as in this case, for the first time in a gallery.

Lucid dreams have marked Gonzalo Guzmán, and as a result of experiencing them, he decided to radically change his life and dedicate himself fully to sculpture in order to capture his dreams. His artistic production is made up of metallic pieces of stainless steel that refer to megalithic monuments such as dolmens, which often appear in his dream world. The creation of sculptures is a form of research to translate these figures into reality. The fact of materialising them enables Guzmán to interact with them on the real plane, and at the same time other people can do so. In addition, the material embodiment of these works raises awareness of how dreams can transform our surroundings.

The centrepiece of the exhibition is Collision, a structure that has also been the protagonist of his dreams. This installation is composed of the representation of a three-metre stainless steel stalactite suspended from the ceiling of the gallery on a reflective surface. The reflection of the stalactite on the area generates the illusion that there is also a stalagmite and, therefore, they are two structures that are about to touch. The strength of the composition lies in the closeness of an impossible collision; in the tension of volumes about to collide.

When looking at the installation, the spectator may question whether he is really looking at a six-metre structure or a three-metre structure reflected on a surface. However, neither of the two options is wrong. Likewise, the perception of time is also altered through the presence in the exhibition of an inoperative clock, since when we dream the notion of time fades away. The public will also be able to contemplate other sculptures by the artist present in his dreams that allude to megalithic structures.

The questions suggested by the observation of Collision lead us to reflect on the blurred boundaries between what is and what is not real. This same situation happens in lucid dreams where the unknown remains as to what is part of them, and consequently, the apprehension of reality and our belief system may collide.

The structure is suspended from a false tensioned ceiling illuminated with LED lights, which has been implemented by Barrisol and the company Instalación de Materiales Acústicos y Decorativos (IMAD).

Abaut the artist GONZALO_GUZMAN_SENDA_mayo2023

www.barrisol.com / www.imadsa.es

Túlio Pinto is for the first time at Galeria Senda, for a solo show, displaying his sculptures of glass bubbles delicately trapped between pieces of rusty steel, disregarding, for this collection, other materials, typical of him, such as stones, steel and ropes. Once again, the Brazilian artist is trying to test the limits of ordinary, industrial materials, creating apprehension in perfectly balanced, harmonious compositions.

The exhibition ‘Empathy’ is comprised of six sculptures made in Spain, that together bring about a place of experience and reflection. Túlio presents multiple arrangements articulated with the same materials to examine the unnatural encounter between different elements. The dialogue created through these engagements are metaphors for the conditions of existing. Concepts of transformation, balance and impermanence are all brought to light, open to interpretation of the viewers. Strikingly, rather than assigning meaning to materials, Túlio uses the features of the mediums to form a definition.

With subtle references to Russian Constructivism, Túlio Pinto has a very unconventional approach to sculpture. He obtains pieces of his sculptures in natural conditions and establishes an unstable interaction with their different properties such as their weight, density and dimension. Nothing is glued or fixed, everything stays in place with the pressure of the blown glass and the weight exerted by the steel tapes. Túlio creates a visual representation of the magical empathy between two materials that are not known for complementing each other. The juxtaposition of not only the temperaments of the materials but also their placements that Túlio so deliberately selects gives his work a sense of duality. There is constant contrast between the materials- from the fragility, transparency and shininess of glass to the the rigidity, opacity and dullness of the steel. There are also references to the materialization of the invisible force- gravity. A force taken for granted despite its power over everything on earth.

As a child, Túlio had a peculiar habit of collecting stones he found near his home and taking them with him on vacation. He would release these stones into different soils, hoping to generate some kind of existential crisis for the minerals of the earth. To this day, he still displaces stones and challenges limits of their resistance. Túlio Pinto never ceases to push the boundaries.

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We are pleased to announce that Galeria SENDA will be presenting a solo exhibition by Anthony Goicolea (Atlanta, 1971), opening Thursday April 13th at 7pm. This marks Goicolea’s third solo show with the gallery and will feature a selection of his most recent works.

ARTIST STATEMENT

My work is a visceral reaction to a lifetime navigating the coded boundaries that exist between cultures, genders, ages, and traditions.

I paint fictional scenarios through the lens of my personal and family history. Growing up Cuban, gay and Catholic in the Deep South during the early 1970s forged my awareness of social constructs such as regional traditions, rituals, and history, and how those elements play out and define arenas of identity, gender, and place.

I was coming of age in the midst of the Cuban refugee crisis coupled with the advent of the AIDS crises and the rise of the religious right, a confluence of events that remarkably parallels our current cultural and political climate.

My paintings are poignant, cinematic portraits that mix cross-cultural references. I use coded cultural signifiers gleaned from folklore, mythology, religion, and fairytales, in my paintings to draw parallels between past and present.

These works are characterized by a feeling of familiarity and dreamlike otherworldliness. I gravitate towards scenarios that focus on the figure caught in a transitional “in-between state” that defies clear interpretation as a result of conflicting cultural touchstones or signifiers. Many of the figures are painted in a moment of fatigue or ennui. Their acrid colors, androgynous poses, and deadpan stares are rendered in a thick scumble over rough linen to reveal past layers of paint.

The similarities between the advent of AIDS and the Covid-19 pandemic, the refugee crises of the 70’s and current anti-immigration nativism, and the Reagan era culture wars compared to the resurgent right’s religious attack on race, gender, and bodily autonomy have combined to reawaken memories of navigating familiar terrain in my adolescence. My paintings address these murky childhood memories through a cast of fictional character studies. Like jaded actors from another era, the figures in my paintings mirror the past and stare out with an exhausted gaze knowing the parallels of our current situation have set the stage for yet another repeat performance.

The work of Elena Del Rivero paves the way for two independent lines that dialogue with each other: the historical; that points to the collective pain of loss, and the personal; that is born from the construction process of our existential pillars.

This exhibition is dedicated to the life and work of Lawrence D. “Butch” Morris (02.10.1947 Long Beach CA.- 01.29.2013 Brooklyn, NY) whose music can be heard during the course of the exhibition courtesy of the artist’s legacy – with our thanks.

Del Rivero will present a selection of works taken from various projects carried out throughout her career that culminate in the concept of admiration for life and experience – leitmotiv and essence of the artist’s inspiration.

In the context of the last stage of the “Archivo del Polvo” (Dust Archive) (2001-2021), Love Song will include the 30 collages-assemblages that were presented in Es Baluard, Palma de Mallorca, built with the pieces of painting rescued from his studio from the works destroyed during the 9/11 attack.

From “Letters from Home”, where the artist delves into the domestic with the kitchen table as a banner, the artist proposes a conceptual experience with kitchen towels-paintings from different years.

Elena also incorporates works related to “Letters to the Mother”, another of her great projects since 1991, with elements that she has used constantly throughout her career such as needles, paint, embroidery and fabrics.

The exhibition is completed with “Fragments of my Ruin”, a work in which all her ethical and aesthetic concerns of recent years come together in a large installation.

Click here to see available works
With a photograph of Butch walking through the East Village in New York and taken by Elena in 2008, the exhibition will close along with others taken during the Black Lives Matter demonstrations in the Soho neighborhood. The images will accompany us throughout the visit as a reflection on the historical, the collective and the personal in the context of an immediate present.

The uses that the artist gives to the materials manage to organically structure the phases that arose as a result of the attacks, as do her drifts and personal reflections that are consolidated in a strong narrative that is the source of her own artistic process.

In the words of the director of Es Baluard (Museum of Contemporary Art of Palma de Mallorca), Imma Prieto: «The importance of Elena Del Rivero’s project lies in the connection established between a specific event, 9/11, and a relationship that unites past, present and future.

Read Imma Prieto’s statement about “Love Song” here: 

ARTIST BIO

Elena del Rivero has lived and worked in New York, USA, since 1991. She has had individual exhibitions at the Museo Nacional Centro de Arte Reina Sofía (Madrid); New Museum (New York), Corcoran Gallery of Art Washington D.C.); International Center of Photography (New York); The Drawing Center (New York); or the Patio Herreriano Museum in Valladolid, among others.