BV - START 17 (English)

Carlos Tárdez Rubén Martín de Lucas Candela Muniozguren

Bea Villamarín and Dani García

Bea Villamarín Gallery

hen people stop in front of a painting they do not understand, they often think: ten more seconds in front of this one and I’ll move on. While pondering, hand on chin, they get a little closer. “Untitled”. They move away and go on to the next one, fingers crossed. Others are genuinely curious, although they haven’t been able to get someone to explain to them clearly about that extraordinary feeling you should get when contemplating a Rothko, or why that Giacomettiís sculpture cost so much. At the exhibition openings, some of them break out in a cold sweat when they are introduced to the artist. They do not know whether to kiss their jewellery, cross themselves, or what the hell to do. If they come out with sincere flattery like, “hey, your stuff is good!”, or “you rock!”, probably, on their way back home, they will be scratching their heads and thinking of how inane what they said was and realising that maybe the capital A in Art is there to block ignorant people.

Bea says that if you are intimidated by art it is because you are using it badly. It is impossible to generalise about this issue, but the latest generations of artists are usually lively, versatile and very open-minded. They have not learnt the trade inside a bubble shut off from the rest of the world; instead, just like any of us, they have had their afternoon snacks watching Japanese cartoons on TV, they know what it’s like to push the limits at music festivals and, although they have studied the masters, they have also wasted loads of time on Youtube. At work, they wear filthy overalls, worn out sneakers or security

goggles from any random hardware store. They do not always use thin brushes, in fact, they do not always use ordinary tools, and they get dirty.

They get very dirty. Some of them even angrily trample on their media. Others interact with their art in a less violent, more technical and intellectual way, but the process always involves a mixture of both conflict and enthusiasm. The result is not always what they were expecting, and they are never, ever, fully satisfied. As humans (and this is probably a less risky generalisation), they like to be complemented on their work, because they are sometimes quite unsure about it.

Art is something extraordinary because it creates vectors among people, causes debates and feeds the spirit. When Bea and Dani discover a new artist, they follow them to their shelter and learn all there is to know about how their private microcosm works. They love chatting with and about them; they enjoy their company and being surrounded by their work everywhere, on the wall, on the floor. That is the reason they have worked so hard to set up a space where they can share these experiences. Bea once explained it to me much better than I could, even if I did have 200 pages to do it because, for her, using the term “awesome” when necessary, is not a problem at all. She’s convinced that an art fan, above all else, should be passionate and curious to listen and query, and then return to see what else these guys have to offer. Every time she writes me an e-mail, she ends up saying that she does not know how to write properly and she cannot express herself very well, but let’s see if you understand this:

"To sum up, I feel lucky to have the opportunity to address the future of art history face to face (yes, those one’s you see in the museums) and to be able to make those, who one day step foot into our gallery, feel fortunate too. And in turn, I want those same people to say how “awesome” it is that finally, there’s someone who speaks to you about art-related things as something run-of-the-mill and they’ll tell others that there is a place in Gijón where you can go and comfortably come out with that popular saying “I know nothing about art”, because the guys working there will tell you everything they know, so that each time you go back you will learn a bit more".

Don’t tell me that the word “awesome” has no place here.

I know Bea and Dani because we’ve spent many working days together among canvas and bronzes. They were there long before me and they will still be there long after. They are stubborn and tireless. They are unique. Considering myself sceptical and often a bit uncompromising in terms of social relationships, I have learnt a lot from them. They’ve been able to make me laugh and excite me and I haven’t been able to resist loving and respecting them. It is brilliant to see them taking a step forward and assuming responsibility for things done their own way, with an open attitude, willing to dialogue, without intimidating speeches, without taking it for granted that people are going to swallow everything. Only art and the people who make it possible, on both sides of the creative process, is what makes it awesome. / Alejandro Basteiro

Carlos Tárdez

A hungry look

There is child looking up at the sky, the clouds move creating shapes, a dragon over here, a pair of scissors over there, with every blink the world changes, everything changes. In Carlos Tardez´s sculptures there´s an idea of a game of meanings, just as the child looking for shapes in the clouds, from which good, bad and even worse ideas arise but all of them being valid. The shortest or most well-known path is not always the best or the only one. It´s all about re-reading, looking for another point of view, using a preconceived idea or an object associated with a meaning and giving it a twist.

Classic iconography and the bombardment of images surrounding us in present times fills the barrel up with ideas for the sculptor to dip in.

Likewise, mythology that already simplifies and explains complex ideas, is a perfect starting point to have an ironic look back. We are witnessing an approach towards sculpture without prejudice, in an intimate dialogue with content.

The breeding ground is so varied, more than we can imagine, any everyday object or concept can be looked at again. It´s here where he´s found a world of his own, a result of research, introspection, absurdism and banality.

Each door opens up to corridors filled with more doors and the sculpture of Tárdez pushes us right inside his house of mirrors.

The representation of the human body does not intend to be loyal to real anatomy and imposed standards, but it highlights the flaws and intimate features of a caricaturised and imagined humanity.

Enjoy the ride

The good education I 18x16x15cm - Polychrome resin. (Ed. 7)

Carlos Tรกrdez

The good education II 18x16x15cm - Polychrome resin. (Ed. 7)

Orfeo 28x20x14cm - Polychrome resin. (Ed. 7)

Carlos Tรกrdez

Art valuer 20x10x13cm - Polychrome resin and coin. (Ed. 7)

Party blower 32x27cm - Polychrome resin and spiral. (Ed. 7)

Carlos Tรกrdez

Censor 32x27cm - Polychrome resin and scissors. (Ed. 7)

Muy macho!

Minotaur

15x5x5cm - Polychrome resin. (Ed. 7)

35x10x10cm - Polychrome resin. (Ed. 7)

Carlos Tรกrdez

The Emperor

Fighter

19x8x7cm - Polychrome resin. (Ed. 7)

17x6x11cm - Polychrome resin. (Ed. 7)

Fakir 10,5x9,5x8cm - Polychrome resin and brush. (Ed. 7)

Carlos TĂĄrdez

William Tell’s son 40x10cm - Polychrome resin and darts. (Ed. 7)

Carlos Tárdez (Madrid, 1976)

SOLO EXHIBITIONS 2016 Bea Villamarín Gallery, Gijón. “My family and other animals”

2003 “Animal Anthropology”, Torrelodones Council Cultural Centre

2015 Perve Gallery, Lisbon Bea Villamarín Gallery, Gijon. “The moment of Introduction”

2000 Clock Tower, Noreña (Asturias)

2012 “Vacios Llenos”, Van Dyck Art Gallery, Gijón Almeria Art Centre Museum, “Zoo Lógico”, Almeria

GROUP EXHIBITIONS 2017 Bea Villamarín, Gijón

2012 Karton Gallery, “Figuraciones”. HuércalOvera, Almeria Van Dyck Art Gallery, Gijón Anmoder Gallery, Madrid Alfama Gallery, “Small Format”, Madrid 2011 Van Dyck Art Gallery, “Up and coming Asturian Painters”, Gijón Santiago Echeberría Gallery, “EmerGentes”, Madrid Alfama Gallery, “Small Format”, Madrid

2016 “50 years of Realism in Spain”, Tres Cantos, Madrid Paths that cross going south, Almeria Ansorena Gallery, Madrid

2010 “Maestros, Figures and Values of Art”, Van Dyck Art Gallery, Gijón Alfama Gallery, “Small Format”, Madrid Van Dyck Art Gallery, “Up and coming Asturian Painters”, Gijón

2015 Bea Villamarín, Gijón Anmoder, Madrid

2009 Alfama Gallery, “Small Format”, Madrid Van Dyck Art Gallery, Gijón

2006 “Feelings”, Van Dyck Art Gallery, Gijón

2014 Van Dyck Art Gallery, Gijón Anmoder, Madrid

2004 “Animal Anthropolgy”, Oviedo Asturian Centre “Ataduras”, Club de Campo, Torrelodones

2013 Van Dyck Art Gallery, Gijón Santiago Echeberría Gallery, Madrid Anmoder, Madrid

2008 “Salon de los siete”, Madrid Van Dyck Art Gallery, “Up and coming Contemporary Painters”, Gijón Alfama Gallery, Madrid Orfila Gallery, Madrid

2009 Alfama Gallery, Madrid “Zoo Lógico”, Van Dyck Art Gallery, Gijón 2008 Clave Gallery, Cordoba “Anima L”, Orfila Gallery, Madrid 2007 “Bestiario”, Campos Gallery, Zaragoza

Fine Arts Graduate, Complutense University, Madrid, 2002

2007 Van Dyck Art Gallery, “Up and coming Contemporary Painters”, Gijón Alfama Gallery, “Small format”, Madrid Van Dyck Art Gallery, “Ideas for a collector”, Gijón 2006 Campos Gallery, Zaragoza Infantas Gallery, Madrid Van Dyck Art Gallery, “Ideas for a collector”, Gijón 2005 Van Dyck Art Gallery, “Up and coming Contemporary Painters”, Gijón XXVI Exhibition, Pola de Siero (Asturias) 200 European Painting Competition “Antonio Lopez 2004” XXV Exhibition, Pola de Siero (Asturias) 2003 La Casa Encendida with the Global Sound community The Madrid Association of Art Galleries, Puerta de Toledo Centre, Madrid XXIV Exhibition, Pola de Siero (Asturias) 2002 Torrelodones Cultural Centre Madrid Gran Casino, Torrelodones XXIII Exhibition, Pola de Siero (Asturias)

2001 The University Campus´s Ministry of Education and Culture Museum, Madrid Madrid Gran Casino, Torrelodones María de Oliver Gallery, Madrid 2000 Complutense University Fine Arts Faculty , Madrid Alfama Gallery, Madrid El Espinar Cultural Centre, Segovia

2009 X Torrelodones Contemporary Painting Competition (Awarded by Madrid Gran Casino) XXIV BMW Painting Award (Shortlisted) IV Figurative Painting Competition, The Arts and Artists Foundation (Shortlisted) 2006 Saexma Award in the II Small Scale Painting Competition. (Shortlisted) 2004 European Painting Competition “ Antonio Lopez 2004” (Shortlisted)

AWARDS 2014 XXIX BMW Painting Award (Shortlisted) 2013 XVIII BMW Painting Award (Shortlisted) 2012 Honourable Mention in the Ibercaja Awards 2012 XXVII BMW Painting Award (Shortlisted) 2010 Medal of Honour in the XXV BMW Painting Awards V Figurative Painting Competition, The Arts and Artists Foundation (Shortlisted)

2002 III Torrelodones Contemporary Painting Competition (Awarded by Madrid Gran Casino) 2001 Young Artist’s award for Visual Arts, Complutense University, Madrid II Torrelodones Contemporary Painting Competition (Shortlisted) 2000 Visual Arts Award from the Fine Arts Faculty, Complutense University, Madrid Valparaíso Fundación Painting Award (Honourable Mention)

Rubén Martín de Lucas Some books are like a well-aimed dart, they come just at the right moment. Then, because of either your predisposition or the moment you are going through, they touch you... they reach deep inside, they shake your foundations. Then you realise that the dart’s trace points to a new bullseye, one you can´t take your eyes off, like a new magnetic pole that has just moved in to your life to stay.

without mechanical aid, reaping manually and with a clever sowing method based on seeds wrapped in a clay ball, called “nendo dango”. In addition, he managed to improve the fertility and the quality of the soil year after year, only by leaving straw in the fields. Proving that there were better, wiser and less harmful ways of farming and being in contact with the Earth.

That was exactly what happened to me with The One-Straw Revolution. This book has come in to my life to stay. It was written by Masanobu Fukuoka, a Japanese farmer and philosopher, a humble, patient and observant man. Someone who was able to read nature, to flow with it and develop the grounds of what is nowadays known as “natural farming”. That is, a method based on “do-nothing farming”, the Taoist “wu wei”, that is, non-forcing, non-interfering. In the Fukuoka fields, this turns into an ecosystem where nature flows and works on its own. That nature of which we are an integrated part and not a differentiated (and separated) one, as we usually see ourselves.

One of his interesting ideas was the parallelism with today’s society, in which we continuously and tirelessly try to have everything under control: cities, fields, livestock farms… which results in a bizarre and denaturalised world. An endless effort which only leads us to poverty and desertedness of the fields, where there is only one species, our own, disconnected from all the rest.

After decades of observation, without ploughing and pruning, using no fertilisers or pesticides, and without getting rid of weeds, Masanobu Fukuoka achieved to equal the best results of modern agriculture. Furthermore, he did it

Fukuoka’s message came to me in a personal moment just when I felt the urgent need of getting closer to the Earth. A need to feel the Earth and to feel like I am part of it. Rethinking our relationship with a planet that we do not own, but which owns us. A change of approach.

A silent revolution that, like Fukuoka’s, starts with one blade of straw. / Rubén Martín de Lucas

Every Monoculture is a kind of dessert VI 120x120cm - Oil, wax and enamel on wood

Rubén Martín de Lucas

Every Monoculture is a kind of dessert V 120x120cm - Oil, wax and enamel on wood

Every Monoculture is a kind of dessert I 60x60cm - Oil, wax and enamel on wood

Rubén Martín de Lucas

Little Wild Garden 20 70x50cm - Oil, wax and enamel on wood

Little Wild Garden 11 30x40cm - Oil, wax and enamel on wood

Rubén Martín de Lucas

Wild Garden 05 90x120cm - Oil, wax and enamel on wood

Large Wild Garden 01 180x180cm - Oil, wax and enamel on wood

Rubén Martín de Lucas

Large Wild Garden 02 180x180cm - Oil, wax and enamel on wood

Little Wild Garden 16 50x50cm - Oil, wax and enamel on wood

Rubén Martín de Lucas

Little Wild Garden 17 50x50cm - Oil, wax and enamel on wood

Little Wild Garden 01 40x30cm - Oil, wax and enamel on wood

Rubén Martín de Lucas

Little Wild Garden 19 70x50cm - Oil, wax and enamel on wood

RubĂŠn MartĂ­n de Lucas (Madrid, 1977)

With roots in graffiti and mural painting Martin de Lucas is one of the five founders of Boa Mistura. A multidisciplinary group of artists whose axis is the urban art and has participated among others in the Spanish Pavilion at the 13th Venice Biennale of Architecture, in the 1st South Biennal of Panama 2013, Havana Biennal 2015, Centre National Art Museum Reina Sofia, Casa Encendida and developed projects in Brazil, Panama, Algeria, Norway, Mexico, Colombia, France and United Kingdom

2001 RubĂŠn founds with his comrades the urban art collective Boa Mistura.

His facets of civil engineer, visual artist and street artist, merge into a work that focusses on the landscape and its associated behavior, studying both the territory as the linkage between people and certain enclaves.

2015 Begins his solo career.

Among the languages used by the artist are the intervened photography, shares in the landscape, video and the documentation generated during research processes.

2002 Graduated as Civil Engineer at the Polytechnic University of Madrid.

2003 After a 4-month journey trough India he declines to exercise engineering for devoting himself entirely to art.

SOLO EXHIBITONS

GROUP EXHIBITIONS

AWARDS

2017 “Stupid Borders” CAB. Centro de Arte Contemporáneo Caja de Burgos.

2016 Casa Leibniz II. AP Gallery. Madrid

2016 “Stupid Borders”. Palacio de Quintanar.

Segovia “El Jardín de Fukuoka”. Galería Bea Villamarín. Gijón “Perteneciendo a la Tierra”. Ibiza Lab. AP Gallery. Ibiza “Vacaciones en el Mar”. Galería Kafell.

Zaragoza.

“Stupid Borders”. CEART. Centro de Arte Tomás y Valiente.

Fuenlabrada.

FAIRS

1º Award. VII Premi Sant Jordi Belles Arts dels Pais Catalans. Fundación Perelló.

Spain 1ª Award. XVII Certamen de Pintura Ciudad de Las Palmas de Gran Canaria. Spain.

1º Award. IX Certamen Fundación Barceló.

Palma de Mallorca. Spain.

1º Award. Govern Balear. III Trobada Internacional Palma Ciutat. Mallorca.

Acquisition at the IV Bienal de Pintura y Escultura. Diputación de Burgos. Spain

2015 “Vacaciones en el Mar”. Galería BAT Alberto Cornejo. Madrid “Stupid Borders”. AP Gallery. Martín Muñoz de Ayllón. Segovia “The Floating Village”. Galería Bea Villamarín. Gijón 2014 “A House on the Water”. Galería Espacio Nolde. Navacerrada. Madrid 2013 “La Aldea Flotante”. Lugadero. Sevilla

2017 ONE PROJECT. ART MADRID. Galería BAT Alberto Cornejo JUSTMAD. Coam, Madrid. Galería Bea Villamarín 2016 ART MADRID. Palacio de Cibeles. Galería BAT Alberto Cornejo JUSTMAD. Coam, Madrid. Galería Bea Villamarín 2015 ESTAMPA. Matadero Madrid. Galería BAT Alberto Cornejo.

MARBELLA ART FAIR. Palacio de Congresos de Marbella. AP Gallery DONOSTIARTEAN. Edificio Cursal. San Sebastián. AP Gallery ART MADRID. Palacio de Cibeles. Galería BAT Alberto Cornejo AFF LONDON BATTERSEA. Londres. Iona House Gallery.

2014 ESTAMPA. Matadero Madrid. Galería BAT Alberto Cornejo.

WORKS AT COLLECTIONS Ministerio de Asuntos Exteriores de España.

Fundación Mª Cristina Masaveu Peterson Fundación Barceló Fundación Axa Winthertur Diputación de Burgos Ayuntamiento de Madrid Ayuntamiento de Las Palmas, Canarias Obra Social La Caixa Colección BBVA Obra Social Caja Castilla La Mancha Obra Social Caja Segovia Caja Círculo Bankia Centro de Arte Tomás y Valiente, Madrid.

Private collections: Spain, France, England, Germany, Switzerland, Sweden, USA, South Africa, China, Hong Kong, Singapure.

Candela Muniozguren

The sculptural artwork of this artist proposes intimate contact with its creative development, where architectural shapes and the multiplicity of chrome effects dominate. From colourful iron constructivism, where the superposition of dynamic planes are joined by industrial moorings, the artist manages to create geometric shapes that don´t try to contain a reality alone but fit into the space all around them.

Her last project, Senbazuru, is made up of several sculptures inspired by an ancient Japanese legend , which promises good health to the person that is able to build one hundred origami cranes.

An abstraction of planes, curves and diagonals

that come together and result in stunning artwork which reminds us of the forementioned traditional Japanese folds.

Thanks to their light shapes and their relentless work in brass and laquered steel, these pieces become particularly appealing to even the strictest eye.

Throughout the artist´s professional career, we can find many awards, second prizes and shortlisted work, along with the involvement in several exhibitions, both collective and individual, for different institutions and art galleries.

She is currently living in Madrid, creating artwork as a professional sculptor.

Pink Up 02 55x26x28cm - Laquered steel

Candela Muniozguren

Industrial Gold 02 57x30x26cm - Galvanised steel

Tetrix 02

Tetrix 04

40x20x16cm - Laquered steel

50x20x24cm - Laquered steel

Candela Muniozguren

Senbazuru 03 60x90x40cm - Laquered steel

Senbazuru 01 42x52x36cm - Brass

Candela Muniozguren

Senbazuru 02 52x50x30cm - Laquered steel

Candela Muniozguren (Madrid, 1986)

Fine Arts Graduate, Complutense University, Madrid.

EDUCATION AND GRANTS

EXHIBITIONS

Seneca Grant from the Fine Arts faculty, Pontevedra. Vigo campus, Galicia.

2017 Collective ART SPACESHIP. ABC de Serrano, Madrid

Guzel Sanatlar Fakultesi Erasmus Grant. Marmara University, Istanbul, Turkey.

2016 ART SHOW Collective exhibition, Bea Villamarín Gallry, Gijón 100x100 Exhibition, The Makers Madrid, Madrid Christmas special Collective Exhibition, Flecha NB7 Gallery, Madrid MISCELLANEA EST Collective Exhibition, Atalante Gallery, Madrid

Department of Sculpture Grant from UCM, Ayllon, Segovia.

2015 Crearte JLN Gallery permanent exhibition, Valencia Collective sample Exhibition, Alemi Art Gallery, Leon IV EscombrArte Sculpture competition Exhibition, Nave E, Segovia 2014 Young Creators Competition exhibition, Madrid 2013 Individual Sculpture Exhibition.

Recycling Xmas. Terra Natura, Benidorm

2012 Nuevo Estilo and Zumos Pago exhibition. Pago Recycled Competition 2012., Madrid 2011 Sculpture and painting exhibition as a result of the Ayllón Grant 2011, Segovia 2010 La periferia como nudo, estructuras de red exhibition, Brussels Tiempo ampliado exhibition, Sala Amadis del Injuve, Madrid 2009 Domus et Animalia Sculpture exhibition, Fuenlabrada, Madrid

AWARDS 2012 Second place in the VII Women’s sculpture competition. Sierra Norte 2012, La Cabrera. Madrid Finalist in the Pago Recycled Competition. Published in the Nuevo Estilo magazine

2011 Casa Grana Sculpture award. Murcia Ayllón Council Sculpture award.

Segovia UCM Heritage award. Madrid

FAIRS Just Madrid 2017. Bea Villamarín Gallery FLECHA Art Fair 2017. Madrid

ARTWORK IN COLLECTIONS Obispo Vellosillo Contemporary Art Museum, Ayllón, Segovia.

Sculpture department in the UCM, Madrid Young Art Lab. Murcia Terra Natura, Benidorm, Alicante

+34 985 346 708 hola@beavillamarin.com C/ San Antonio, 5 33201 Gijรณn (Spain) beavillamarin.com #beavillamarinBV