Grey Flag 2018-2019. Palimpsest

From: Thursday, 20 September 2018

To: Sunday, 28 July 2019

Artium suggests an approach to masterpieces in the History of Art based on comics and the language of art.

Along this journey, the project will alternate and coexist among the proposals of the authors from one and another field based on the practice of appropriation. A type of dialogue that –as a matter of principle– questions, assesses, analyses and/or criticises received cultural heritage. Controversy has accompanied this practice, as it clashes with our system of collective knowledge, the romantic vision of the author, individual genius, property, the system of validating art, the institution or economic exploitation itself, and in exchange it proposes an open dialogue with history by semantically regenerating these images. A practice that involves offering vectors of resistance to constituted forms of power.

Ana Román. Eva feels the sound of sin. Reinterpretation of Adam und Eva, by Albrecht Dürer

Albrecht Dürer painted two of his most recognisable works in 1507 and they now hang in the Prado Museum. His portraits of Eve and Adam are a formal anthropological analysis of beauty and the perfect proportions of the human being. Far from any religious intent, the subject of “Adam and Eve” was one way of examining the naked bodies of man and woman and the vindication of knowledge and science through the apple. This latter aim in Dürer’s work does not stray too far from the intentions shown by Ana Román in Eva siente el sonido del pecado (2018), in which she literally quotes her predecessor. This recourse to mechanics has helped this artist from Bilbao to manage or transfer what the human race has needed and desired. The Eva machine is shown as the origin and vindication of woman, an element charged with energy and potential, while at the same time, as Eduardo López points out in his text on this piece, correcting a flagrant error by the German Renaissance artist and definitively eliminating his navel.

Ana Román (Bilbao, 1962) has a Degree in Fine Art from the University of the Basque Country and completed her education at GHK University in Kassel (Germany). Alongside her extensive exhibition experience, she has combined her work with presenting training workshops in various museums in her city. Her projects have included Iron Flowers (2015), Little Box (2013), I Am a Machine (2011) and Sweet Machine (2007), in whose titles we can sense the imaginary that runs throughout her work. One is able to locate the memory of the avant-garde through her machines, with names such as Balla or Depero, the formal research of the Bauhaus or constructivism, the presence of Duchamp or Picabia, works in which to recognise, question, think or “laugh” reality.

Mauro Entrialgo. The little serpent. Reinterpretation of El Balandrito by Joaquín Sorolla

Grey Flag Mauro Entrialgo La SerpientitaMauro Entrialgo (Vitoria-Gasteiz, 1965) has been working at El Jueves for two decades and is a founding member of the magazine TMEO. He has published more than fifty comic books, recorded half a dozen albums, premiered four plays and written a commercial feature film. He also paints murals, edits home video art pieces and for many years has been developing a proposed theory on the construction of humorous discourse. His business cards states: “cartoonist among other things”.

In La serpientita, Mauro Entrialgo has reinterpreted and updated Joaquín Sorolla’s work El Balandrito (1909) as a fun graphic pop piece. This is one of Sorolla’s most popular paintings and a clear example of his work, primarily focusing on sensations. Mauro avoids Sorolla’s naturalism to position himself in its antipode, capturing the magical thought of the child portrayed.

Selection and text: Iñaki Larrimbe

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