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.

Galeria SENDA presents Anthony Goicolea – “Don’t Make a Scene” (2020)
LOOP Festival, 8 – 20 November 2022

Galeria SENDA is pleased to present Anthony Goicolea in this years edition of the LOOP Festival from the 8th of November till the 20th of November.

“Don’t Make a Scene” (2020) is a monologue presented in the form of a silent film. The short unfolds as a book of drawings made during the initial six weeks of the Covid-19 quarantine. Each drawing is done on semi-translucent sheets of mylar film. The portraits are character studies presented as actors from a one-act play.

Made during a six-week period of forced isolation, Goicolea casts myself as the emcee in the guise of an early 1900’s cabaret host as an allusion to past and present pandemics.

Dressed in period stage drag the emcee enters in a black cloak and beaked mask. During the 17 th-century plague, European physicians wore beaked masks, leather gloves, and long coats in an attempt to fend off disease. The mask is removed to reveal pancake make-up and reddened cheeks that were often used to hide early signs of “Consumption” or the “White Plague”. And the pomaded coifure, rouge, lipstick and stage make up has links to paintings made during the pandemic of 1918 as well as referneces to drag and queer communities affected by the on going AIDS pandemic.

The musical accompaniment is a slow unfolding waltz whose beat is in sync with the rhythmic turning of the pages. The slow steady beat marches onward toward isolation, tedium, fear and the final hooded figure of death.

ARTIST BIO
Anthony Goicolea is an American born artist of Cuban origin. Known internationally for his photographs, drawings, paintings, sculptural installations, and films, the artist works across mediums creating a self-referential visual language that explores identity, migration and transition, displacement and alienation, as well as assimilation and group dynamics. Goicolea uses the architecture of the human body and constructed landscapes to create worlds predicated on fantasy but based in reality.

About LOOP Barcelona

LOOP Barcelona is a platform dedicated to the study and promotion of the moving image. Founded in 2003, since its creation it offers a specialized audience a curated selection of video-related contents from challenging perspectives. An international community of artists, curators, gallerists, collectors and institution directors, team up to develop projects, which aim at exploring the capacities of video and film in today’s contemporary art discourses.

#SENDATalks | Jaume Plensa / Jean-Marie del Moral / Marius Carol

Shared challenges. Creation in a global market.

Monday, November 7th, 7 p.m. (CEST)

Join us for the talk between the sculptor Jaume Plensa, the photographer Jean-Marie del Moral, and the journalist Marius Carol, next Monday, November 7 at 7:00 p.m. on the occasion of the presentation of the book “Interior, 2022” by the publisher By Publications in Galeria SENDA.

The event will be live online through our Instagram and Youtube account.