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LA VIDA ES UN SUEテ前 Aテュda Rubio Gonzテ。lez

rosenfeld porcini

INTRODUCTION La vida es un sueño

La vida es un sueño’ is Aida Rubio Gonzalez’s second exhibition in our galleries. The

first “la forza del gesto” (“the force of the gesture”) directly referred to the variety, strength and originality in her use of paint. The works, although varied in subject matter, showed an artist who was discovering and exploring the potential richness of her medium from work to work. Once decided on her subject, Aida proceeded to slowly bring the work to life experimenting pictorially on the way. The earliest pictures were painted when the artist was in her late twenties and related very strongly to her Spanish roots: from a re-working of the ‘Tauromachia’ to an extraordinary re-interpretation of Velazquez’ s ‘Portrait of Pope Innocent X’, the same work which Francis Bacon had also famously turned his attention to. Her fearlessness in touching almost ‘sacred’ subjects gives an immediate insight into her artistic self-belief. The main corpus of the show however, was related to her own personal life, whether it was images from her childhood, friends or situations in her adult life. The works featuring children show her ability to be intimate as her palette and brush strokes acquired a new delicacy. The other more narratively complex paintings are increasingly disturbing as they explore the dynamics in human relationships and human sexuality, the pain thickening and the brush marks displaying a new dynamism and density.


Now more than three years later, we are presenting a whole new body of work. Always a figurative painter, she had previously flirted with great areas of abstraction within an individual composition but this has now gone and she has taken up the mantel of being a totally figurative artist. In ‘la vida es un sueño’ it seems like every painting is a still from a film; a frozen frame which often contains multiple story lines; a film that has been condensed into one complexly composed shot. There is a strong connection with the cinema of Pedro Almodovar. Both of them are quintessentially Spanish and whilst Almodovar almost single-handedly gave a visual voice to the idea of the explosion of the Spanish ‘movida’ after the death of Franco, Aida’s works appear as an even more excessive celebration of life. They also share a love of American cinema. The large cars which inhabit some of the paintings, elements of the street scenes and even visual references from specific films like Tarantino’s ‘Reservoir Dogs’ reveal a world that cross-references American cinema with an extravagant take on the typical Spanish street scene. However, the greatest connection between the two artists is the extroverted palette they use. Whereas the director, particularly in his early films, embraced the idea of kitsch, Aida consistently strays close to the wind but yet somehow always remains on the other side of the tracks. Both have enormous visual style but ultimately the aesthetic affect of that style differs greatly. In these new pictures, Aida Rubio Gonzalez displays a unique gift of narration; each work is possessed with a sense of humour, yet this is never used at the cost of her painting but as an integral part of the whole. Both narratively and pictorially the sense of freedom in her creativity has remained but it has widened its scope from her first show. In the paintings from ‘la forza del gesto’, the feeling was of the artist discovering herself as she moved from picture to picture. In nearly all the paintings she appeared to know what her subject was before she began but then the experimentation was totally concentrated on the applying, removing and adapting of layer upon layer of paint. Now that same sense of discovery applies to the content and not just the painterly technique. The majority of the works are extravagantly imagined street scenes; scenes that on initial impact appear real, only to reveal themselves on closer inspection as something far more absurd than reality; an invented universe where most elements are not as they seem; there are strangely observed characters from some fantastical film, people without heads or distorted limbs, dwarfs, references to characters from popular culture, little pieces of design, street signs and visual symbols and countless other elements which all make up the artist’s unique universe. I know of no other painter who can channel her creativity with such freedom and without ever deviating for one moment from being a painter. Nothing is ever mere illustration, even though there are elements of comics or bandes dessinée. But even here it is all subjugated to her primary identity as a painter. Compared to the first show the surface is now thinner and there is less paint. Gone are also the tortured brush strokes yet here is a marked development in her use of colour so that ultimately the effect is a voice that is stronger and more unique and her


Del timbo al tambo, cansado me ando Oil on canvas 195x195cm


Each scene awakens a new world where wondrous things and wondrous characters exist. She presents us a parallel universe which somehow with all its bizarreness appears to function like ours yet is unmistakably different following its own logic and its own behaviourism. Aida Rubio Gonzalez is not interested in pulling our heart strings except through the beauty of the work. She is not of the school “make ‘em laugh, make ‘em cry” but rather “make ‘em laugh, then make ‘em laugh louder”. These paintings could light up any grey day; they bring light, humour and a sense of marvel to our lives. The sky could be green, purple, or yellow, shoes are found in the middle of the street in the act of walking but with no one inside them, characters are tilting as though about to fall, other people stand around quite normally but are missing a part of their body; cars, trucks and motorbikes but nothing is as you would expect; everything emerges transformed by Aida’s brush. We have entitled the exhibition ‘la vida es un sueño’ because there is a strong sense of dream in Aida’s pictorial world. We could, however, just as easily have entitled it ‘life is joy’ as ultimately it is joy and most definitely beauty that are the lasting emotions the show leaves us with. In an old master world, ‘joy’ in art was ultimately expressed through ‘love’ (mother and child, holy family), food (the still life) or the beauty and appreciation of nature (landscape). Aida’s ‘joy’ is a celebration of our 21st century world as it could be seen in a dream; a dream from which we wake up tingling, happy to be alive. Ian Rosenfeld


D-efecto cabalĂ­stico Oil on canvas 195x195cm


THOUGHT AND LANGUAGE Keys for a pictorial reading

Please allow me when writing about Aída Rubio González’s paintings to talk like

someone whose head has sometimes been sent spinning by paintings and these paintings have helped me understand why. ‘Whether it’s a curse or a blessing, I place things as I like them…how sad is the destiny of a painter who hates apples and because he can draw draws them so well, uses them all the time! I only put the things I like in my paintings the things I like. It is worse for the object, but they have to find a way to co exist together’ – Picasso. Darwin, in his work on emotion in man and animals (says Ernst Cassirer in his book ‘The Philosophy of Symbolic Forms’), tries to create a biological theory on expressive movements, interpreting them as residuals of what were actions motivated by ideas. Thus an emotional expression is nothing more than the memory of an action that was the result of a concrete objective. Anger would therefore be the weakened image of an aggressive movement. All elementally expressive movements constitute the first limit of spiritual development, which is what one encounters in the immediacy of sentient life, but contemporaneously transcending it at the same time. Each expressive movement, instead of going straight to the objective, suffers a sort of inhibition and moves backwards thus becoming also aware of this same impulse.


Removing the action from the immediate form of an activity enables a new field of action and therefore a greater degree of freedom that enables the passage from the purely physical to the ideal. Without inhibition, without the distancing from immediacy, the possibility of language wouldn’t exist. How therefore do we understand this apparent defence of immediacy to which Picasso alludes ‘I put the things I like in my paintings’? ‘In reality nothing can be copied from nature if it is trying to imitate it, even if the imagined objects appear to be real. It is not a question of using painting to arrive at naturalness. It is in fact necessary to go from naturalness to painting. You have painters who transform the sun into a yellow spot but you have others who, thanks to their art, transform a yellow spot into the sun’ (Picasso, ‘Painting and Reality’). This is the same Picasso who shows us how this game of language talks to us about the impossibility of copying nature and how attempting to get close to it gives the world ideas. It is because of this that his apparent immediacy is simply a way of sensitive action but not the way to set up sensitive expression. It is this game of approximation and distancing which Picasso alludes to when he tells us of the sun as a spot and vice versa is where the configuration of painting lies and language in general. Language is simply the history of our distancing from reality. It is Ariadne’s thread which on this occasion takes us out of the image only to take us out of the labyrinth and put us into another which is equally complex. There is something which clearly shows us this and it is the fact that objects do not exist before and outside our thoughts. They are not given to us as conclusive and rigid facts, like a characteristic objective affirmation of themselves, existing on the margins of our own subjectivity. All of this which we call the world of perception is not a given from the beginning but only exists when you have gone through a process of thinking conceptually. ‘When we attribute to the things in space a determined size, position and distance, we are expressing with that no simple fact of sensation but incorporating sensible data in a combined systematic and relational way which in the ultimate instant is nothing more than a pure set of judgements. All articulation in space presumes an articulation of judgements.’ We, insists Cassirer, are showing ourselves that the world roots its existence in thought: and our ability to articulate judgement. It is through thought that we live in the world of relations. For developed thought, more important than the thing itself and its permanence are the relationships established through discursive thought. From that depends, and through that is formed, the objects of experience.


Columpios en el est贸mago Oil on canvas 180x180cm


Therefore what distinguishes the world of thought from the world of sensitive impressions is not the material with which it is constructed, but the new order with which it is manipulated. Yet this order is nothing else but its own language; this field of positions and actions through which thought develops. We could say that naturalness does not exist and we only have reality; a cultural concept, a social convention of what is naturalness. And the painting as language makes us the key between two existences, the place where the process of meaning and convention is realized. In the sensitive world the affirmation of the object exists and therefore its permanence. In the world of thought, of painting and of language, what exists is the manipulation of the object and the capacity of its transformation and therefore its distancing which is a consequence of the order to which the object is subjected. I believe that Aida Rubio Gonzalez’s paintings are talking to us about just this and it is for this reason that I ask you to look at these works and read them. JosÊ Manuel Prada Vega Dean of de College of Fine Arts University of Salamanca


Julio 2007 Oil on board 100x81cm



In none of her paintings, not even in the most figurative, is there any reality but the

one physical reality of the canvas and its pigments. A painting’s reality, except for the painting itself, is only represented, not present. “Represented”, in this case, means that the reality is merely known or symbolized; it is transported to a higher reality which supersedes natural reality. This superiority provides the painting with a higher dimension, a synthetic and analytic elaboration of a reality that it is codified as another. This codification can occur, not only because the paint is able to turn its real two-dimensionality into three-dimensionality, but also because it demands another law, nature, reality and another representative code together with its signs and its formal and syntactic rules. This code is not unique and, although it may be universal, it speaks of rhetoric, iconology, aesthetics and so forth. Nevertheless, it can be said that over and above the rhetoric, iconology and aesthetics there are as many codes as artists, and as many codes as pictorial works. The personal code through which each painter represents reality can be identified with the style. ‘Style is man’ according to Buffon, or in another way, there are as many styles as men, because each one shapes his style with his own life. As someone said accurately, style is shaped as the addition of good and bad decisions. Everything counts in the sculpting of that reality equivalent to each one’s style. Another writer has outlined the forms of representation or reality as existing in three central ways: transcribed reality, transformed reality and transmuted reality, depending on this reality’s closeness –or remoteness – and on the artist’s desire to be a recreator or a transcreator of that


reality. In other words, it means that the artist has at their disposal a huge accumulation of resources in the form of illusions, fictions, appearances and fantasies to connect to reality and create his own code and style. Thus every artist generates works influenced by his inner world, by his perceptive capacity and by the artistic movement to which it is linked. It generates works that stylize reality in an inevitable way. When the structural correspondence - always variable – between image and reality occurs, it is possible to speak about transcribed reality. If there is a visual independence of the artificial signs in relation to reality, we speak about transformed reality. When there is a double referent, visual and symbolic, and the simultaneous use of many codes occurs (artificial, literary, cultural, experiential) even when there is subversion, we speak about transmuted reality. There, the artistic work is immanent and autonomous and escapes from heteroidentity, seeking to only resembling itself. In light of this triple canvas, we can now talk about Aída Rubio’s pictorial work. When we became aware of her work, years ago, she participated in a clear abstraction with touches of figuration. That is the reason that inspired me to include some of her works on an exhibition on figurative artists: in spite of her basic abstraction she built bridges towards limited references to figuration which meant, for the exhibition, the less figurative figuration, the one that we regard as part of transmuted reality at its most iconic limit. Many years without news about Aída’s work had let me better perceive her artistic career. The painter is moving towards a higher figuration, towards the transformed reality. And that is a wise, vital and aesthetic, move, because her paintings are maturating more than expected for her age, but without losing her youth’s characteristic daring and nerve. There is respect and camaraderie towards painting. There is respect in the deep structure of plastics (her severe and considered compositions on diptychs, on triptychs, in stripes, the modulated and audacious colours). And there is also camaraderie with the superficial structure – her thematic connection, her literary nods – those titles so well realised – her style defined even by her topics, obtained by allusions and metaphors, the obvious use of recurrent elements, those pink Cadillacs… Picasso said, I believe, that a painting is nothing but ‘a sum of destructions’. Aída Rubio González destroys the most elementary testimonial elements, but as the genius from Malaga she destroys the accidental to keep the main plastics. She desrealizes (that is the transformed reality after purifying the transcribed reality). Thus, it losses figuration (at least the notarial one) but gains pictorial immanence, the one forming skeleton that distinguishes Art from Painting, and not a kind of identity document about reality; about a reality that, nevertheless, is present in these paintings, overcharged by another reality, the one achieved by this painter by means of artistic transformation. Aída has developed a very free figuration that she feels comfortable working with. We do not know how she will advance in the future but Aída has undeniably obtained something very mature: her own style. For me, she has achieved an unmistakable style, because I sincerely think


Poquet a poquet, camino con un piĂŠ Oil on canvas 195x195cm


that if I see one of her paintings without knowing it is hers, I would instantly recognise her as the artist. In these paintings there is a lot of painting and a lot of personality. As for Aída’s topics, they are almost always urban scenes: the cities’ peculiar atmospheres, the daily objects and the materialistic aesthetics. The choice of these topics already marks a clear intention to create a model, the election of a concrete fragment of reality as a vehicle able to transfigure that endlessly multiform reality. In this determined impartiality there is much of her original freedom but where in a painting like these there is this originality – the destruction from Picasso – in relation to the previous artistic ways, there is also obedience: the acceptance of the help offered by previous painters. Thematically, the painter presents a substratum that can be identified with the most disenchanted American Pop-Art which had been losing its recreational, optimistic and joyful character of social criticism – there is more satiric auto identification than condemnation – that leads towards a dismal and metaphysic Pop: like the one of Robert Rauschemberg and Jasper Johns, anachronic. We could also trail the substratum, above all in the formal treatment of figures, of the British painter Peter Blake and the Spanish painter Román Vallés.  

In her paintings there are always streets, crossroads or raised areas. Sometimes, there are pictures of cities that are half way to the suburban; where housings start to fade and oil stations and motels emerge. They all are areas of disenchantment, loneliness and misunderstandings. That is why there is an absence of dialogue between the characters depicted, as instead it appears that each of them cares about him or herself, burdened by the unbearable lightness of their being. Only in “Clean Works” there are three characters talking, and one of them – “rara avis” – is smiling. Maybe they talk purely to defend themselves of a street cleaner machine that is threatening them. Although plastically speaking, Aída Rubio differs greatly from Edward Hopper, there is a connection between their lost in thought characters. Even when they practice sports – despite its group condition – they do it alone, like the footballer and the cyclist of “Step by step”. We are always alone, said the poet Leopoldo Panero. However, the cities of these paintings are not only American cities but also universal as every city, even in their squares and their crossroads, is a lonely expanse. Furthermore, Aída universalizes her cities not merely in the tiles (the painting “Goya esquina a Velázquez” is Madrid and “Luces de Panamá” where there is a famous neon sign at Madrid’s square of Callao). Due to the plastic treatment received by the facades of this universal city, these facades are not real facades. This treatment (their colours, their texture) allowed Aída to benefit plastically and compositely. They are decorated with curtains that observe the eternal theatrical farce.  Aída is able to dematerialize the human figures purely because the world is a theatre and its characters actors. Ultimately, they play a theatrical part and not immanent human beings. These characters can belong anywhere, despite of their outfits, and these streets can also belong any place, despite its architecture. They are places invaded by the American or Occidental way of life. This is more overtly portrayed in the painting “Hay que aparcar” where there is


El comensal insaciable parte 1 Oil on canvas 195x195cm


a much more oppressive loneliness as a solitary man in an underground parking lot faces two pink Cadillac wrongly parked. There is thus loneliness in those exhausted human beings also on a formal level that reminds us Francis Bacon’s work. It appears that they are dematerialized inside their inner fog; it almost as though they were not yet formed at all, on a materialistic point of view. Humanity is always doing or undoing itself due to its adverse life, and this process is never finished. The same occurs with the animals depicted – such as the little dogs, an out of place pink utopian rabbit and birds. The same pair of ducks appears in two paintings. Maybe they are affected by dehumanization –or deanimalizaton – and in the painting “Duelo al sol” there are not birds on a tree, but surrealistic rectangles presenting empty birds.   Other elements may also derive from Pop-Art and are not limited to their value to be composed, but acquire a clear surreal symbolism in reference to numbers, rectangles, circles, rings, stripes¸ targets and arrows. Sometimes they add plain features to the painting, they make a scene unreal and they enrich it semantically and symbolically.  Arrows, for example, adopt a thousand forms (even in graffiti on the fronts) in many locations (on the floor, in the air or on a flag as in “Fin de zona”) and they usually appear in pairs, facing each other as if to indicate a contradicted way to nowhere or a existential “huis clos”. Not even the Superman in the air in “Goya esquina Velázquez” or the Spiderman masks on “Érase una vez” are going to save us from loneliness. These symbols are a clear pop reference. The presence of pink Cadillacs in many paintings is symptomatic. This car is a fetish symbol of pop (the “haiga” as synthesis of the “American way of life”) with its pinkness a tribute to Elvis Presley who is present on a sign in “Homenaje a Cassandre”. Yet occasionally the coveted Cadillac, external sign of the welfare, turns into a threat, as in “Hay que aparcar”. In another painting, the car is animalized and looks at a character with its red headlights-eyes as in “En el Ocaso”. If numbers, so frequent (in the air, on the floor, on the fronts) allude to urban grids and regulations that restrict the citizen’s life, signs (so loved by Pop) contribute to its plastic expressivity and its verbal message. In some cases a semantic, visual game is suggested by the typographic differences. It occurs in “CHULETeO” and “ZAPATeO” and the paintings “Aire Carioco” and “Duelo al Sol”. In “La Truite Inattendue” the sign on a Parisian café awning, Aída just presents the noun of the title. The adjective can be guessed from a trout’s silhouette that floats where the front of the establishment is fading from view. But the place where the signs, whether on walls or posters, become a whole tribute to cinema and an expression of the painter’s love for cinema is in “Despertar de cine”. Some characters queue in front of a box office (probably a cinema at Salamanca) and on the walls, we can observe mythical film’s titles: “Blow up”, “West Side Story”, “Por un puñado de dólares”… cinema is all around the painting. We can even observe a real and identifiable character, the one occupying the mayor part of the painting. She is cross-dressed as a film character, from a cliché Dracula with his black costume and his even blacker cloak with its lining and its living


Con quien andas, querubĂ­n Oil on board 195x195cm


red. Cinema and its powerful iconic presence, the seventh art and a pictorial reference become increasingly frequent in each work. In many paintings there are also signs that present the viewer with a great amount of suggestions. The plastic use of signs start with Cubism (which rather explodes its plastic value) and reaches its climax at Pop style, which uses it’s a wealth of metaphors. From the way that Aída employs them one could easily deduce that they symbolize another side of reality or the unreality of her characters. Signs mark another dimension of reality because they are as real as characters and because it is often impossible to distinguish between signs and reality. That is the case of “Meeting thinkers” where we cannot see properly if the bull is a sign or reality and where a character, whose legs walk on the floor, sees how his body becomes part of a figure on a blue background sign. But the painting where the sign is fundamental is “Homenaje a Cassandre” not only because an immense sign forms the whole painting, but also because its ambiguous message emphasises the importance of not being a merely transmitter of messages (a young defiant boy crossed by the word “Party”). Moreover, down below the painting we can see the figure of a man sticking the sign and we do not know if he concurrently forms part of a sign. In modern life, signs crowd the streets with the same rights and reality as its pedestrians. In most of the paintings there are circles and rings, empty or full of colour, both overt and slightly suggested. Plastically, they play a great part with their abundance prompting us to think about something more: can they also pretend to be bubbles, can they symbolize weakness of human life? That is the implied wealth of Aída Rubio’s paintings. There also are some recurrent elements highly present in her paintings. We refer to those forms more or less rectangular and plain (from an inattentive look they may seem part of a collage). They appear full of references, in this case, plastic references – such as the multicolour striped rectangle of “Érase una vez” or the white and blue polka dotted one in “Despertar de cine”, the one in “Clean works”, the hounds-tooth table cloth in “Goya esquina Velázquez”, the puzzleshirt in “Penguins sales” and, above all, the rectangles with multicolour circles in “Step by Step” and “Meeting Thinkers”. If we can semantically deduce that they allude to what was said before about the sense of theatre in the scene (the scenery and the buildings as sets) and to the dehumanization of characters (the puzzle-shirt of the woman), its plastic reference becomes even clearer. Perhaps it is not very daring to remember the Delaunays when thinking about little coloured circles and, as a reference to the artistic printing techniques, remember its use (and comics’ use) by Pop in general and Roy Lichtenstein in particular as some of these forms can remind us of silk screen printing. Finally, for us to refer to those merely plastic factors of Aídas’ paintings, we will mention four elements thought to form the pictorial maturity of the artiste: composition, colours, volume, and texture. When composing her paintings, Aída Rubio is classic and rigorous. Except for one painting entitled “Hay que Aparcar” which is a strict exercise on perspective, others present a harsh horizontal disposition, as in “La cabina” or a rectangular one in “Tirarse a la


Piscina”. Nevertheless, most of her paintings adopt a vertical position as an allusion to classic diptych disposition (“Penguins sales”, “Aire Carioco”) or to triptychs, symmetric or asymmetric (“Goya esquina Velázquez”, “El asedio”, “Homenaje a Cassandre”). The painter, when talking about something as plastically important as composition, wants to ensure this by making use of strengthened formulas proper to reliable painting and by respecting the iron skeleton of paintings. As regards to colours, they are vibrant, joyful, dramatic and always daring. We must remember Leonardo’s words in “A Treatise on Painting”: “Every body that moves fast, seems to stain its path with its own colour…The colours used to dress figures must be those that combine each other.” Aída follows Leonardo’s advice not only regarding to fast moving figures, but also in those who walk and even in those who stay quiet. This colour of the painter’s figures fade within the setting as much as it is transmitted on them. Thus, there is a merging between person and setting that may have something to do with the existential melting we saw in this painting’s characters and their character as actors in this world theatre. When referring to the selection of colours, it is evident that they all daringly combine with each other. That is the reason for the plastic charm raised by these brave chromatic combinations. As background setting (the space as a set), everything is possible; skies can be red, green, yellow, orange, black, blue. However, they are perfectly mixed with a harmony within the contrasts with complementary grounds: also green, yellow, carmine, blue, red, orange…The same can be applied to walls, signs, and also to characters. Perhaps, due to its daring and its brilliance, it is the colour that is the most pleasant element in Aída Rubio’s paintings, the one that counteracts the existential sadness of her characters. We keep (and do not amend) s belief in the theatrical substratum of this works. If life is performance, the characters are actors and the space is a setting. It is natural for the artist, in order to mark the drama in her works, not to care for “levelling” the elements in the scene just to make them unreal and to confer them more symbolism. Thus, many of the characters and the spaces are diminished in their volumetric density. This is how there is an increase of symbolism, plastic richness and narrative. However, this levelling is also dangerous (coldness, affectation) but Aída blends it with the material treatment and the vibrant use of textures that she imposes on her paintings. Every surface that appears on them is slightly blended by means of colours and textures chords, as subtle as thin, or as cathegorical as expressive. Textures are so astutely planned that they can dissolve outlines by making the textural volume either dense or reduced. The painter, who controls exceptionally the art of drawing, draws (and undraws to avoid drawing tyrannies) blurs (the flux) and enriches its textures by plastic qualities and semantic values. That is not easy. These are the reasons for us to speak about the young maturity of Aída. Ricardo López Serrano. Doctor in Fine Arts Art critic



1978. Born in La Laguna, Tenerife. Spain 1999 2004. College of Fine Arts, University Salamanca. 2005 2011. Lives and works as teacher for the area visual arts of the Fundación Caja Duero, Salamanca, Spain.

Select Exhibitions 2003. Espais d´art ACEAS, Barcelona. 2004. Galería Reyes Católicos, Salamanca “ARCALE”, Salamanca. Galería Absenta, León. “Ensoñaciones”, galería Artis, Salamanca. 2005. “Pasos” sala de exposiciones Ibercaja La Rioja, Logroño. “Observador de escaparates”, sala de exposiciones Caja Duero, Salamanca. 2006. Sala de exposiciones Torre Nueva, Zaragoza. 2007. “ART-MADRID”, Madrid. Galería Artis, Salamanca. “Desfiguración”, sala de exposiciones Ibercaja, Zaragoza.



2008. “La force del gesto” galleria Napoli Nobillisima, Naples.

Awards, Residences 2003. Scholarship Royal Talens. “Concurso de pintura rápida Fundación Gaceta”, award. Salamanca. Residency Palacio de Quintanar, Segovia. Scholarship “Simposium de Vídeo”, facultad de Bellas Artes, Salamanca “Certámen jóvenes pintores” Fundación Gaceta, award, Salamanca. 2004. Scholarship “II foro de arte contemporáneo ARCO”, Madrid. “Certámen nacional de pintura Ibercaja-Diario de la Rioja, category years younger 35 than, award, Logroño “Concurso de pintura al aire libre Fundación gaceta”, award, Salamanca. “Concurso regional de pintura jóvenes artistas organizado por Caja Burgos,award, Burgos. “9º premio Winterthur de pintura” award, Burgos. “Premio BMW de Pintura XIX edición” award, Madrid. 2005. “10º Premio Winterthur de pintura”, award, Burgos. Residency Universidad Menéndez Pelayo, Santander. “Concurso de pintura Club Taurino San Martín, Fernando Rivera”, award, Madrid. “Concurso nacional de pintura Adaja”, award, Ávila. 2006. “11º Premio Winterthur de pintura”, award. Burgos “Certámen de pintura Ciudad de Tomelloso”, award. Ciudad Real.

Bibliography Catalogues 2001. “Premio San Marcos”, Universidad de Salamanca, Salamanca.



2002. “Premio San Marcos”, Universidad de Salamanca, Salamanca. 2003. “Exposición de pintores pensionados del Palacio Quintanar”, Caja Segovia, Segovia. 2004. “Premio San Marcos”, Universidad de Salamanca, Salamanca. ”9º Premio Winterthur de pintura Catedral de Burgos”, Fundación Winterthur. “XX concurso regional de pintura jóvenes artistas”, Caja de Burgos, Burgos. 2005. “La Ciudad Revivida”, galería Artis, Salamanca. “Observador de escaparates”, Fundación Gaceta, Caja Duero. Salamanca. 10ºCatálogo Premio Winterthur de pintura Catedral de Burgos”, Fundación Winterthur, Burgos. 2006. “11º Premio Winterthur de pintura Catedral de Burgos”, Fundación Winterthur. 2007. “Figuraciones nuestras”, Ayuntamiento Salamanca. 2008. “La Force del gesto” galleria Napoli Nobillisima. Naples.




Érase una vez Oil on canvas 146x195cm



El asedio Oil on canvas 130x150cm



Tirarse a la piscina Oil on canvas 195x195cm



El trotamundos Oil on canvas 100x130cm


Goya, esquina Velรกzquez Oil on canvas 81x100cm


Step by step Oil on canvas 81x100cm



Clean words Oil on canvas 146x195cm



Penguin sales Oil on canvas 195x292cm



Meeting Thinkers Oil on canvas 146x195cm



Aire carioco Oil on canvas 146x195cm



Despertar de cine Oil on canvas 96x146cm



La truite inattendu Oil on canvas 146x195cm



Fin de zona, caf茅 y peri贸dico Oil on canvas 146x195cm


La cabina Oil on canvas 65x95cm


Duelo al sol Oil canvas 65x95cm



Homenaje a Cassandre Oil on canvas 146x195cm


En el ocaso Oil on canvas 65x95cm


En la luna de Valencia Oil on canvas 65x95cm



Where is Harry Lime? Oil on canvas 146x195cm


Luces de Panamรก Oil on canvas 81x100cm


Hay que aparcar Oil on canvas 65x95cm


Published by rosenfeld porcini, London 2011 Curated and organised by: Ian Rosenfeld, Dario Porcini and Emily Dolan Compiled and edited by: Ian Rosenfeld Words: Ian Rosenfeld, Ricardo López and José M. Prada Design and Creative Direction: Marcelo Llorente and Daniel Berea malagon@usal.es Photography: Javier Tamamés Fabio Speranza Print: Gráficas Varona Salamanca, Spain Edition of 500 © 2011 rosenfeld porcini rosenfeld porcini 37 Rathbone Street London W1T 1NZ www.rosenfeldporcini.com

“Laisse les mots sont des images et les images parlent” Stephane Mallarmé

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