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.

Curators: Iñaki Larrimbe and Enrique Martínez Goikoetxea

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.

 

Edu López. The Fountain Without Water

Reinterpretation of Fountain, by Marcel Duchamp

Grey Flag Edu Lopez

 

Laura Pérez Vernetti. La caballera de la mano en el pecho

Reinterpretation of El caballero de la mano en el pecho, by el Greco

Grey Flag Laura Perez VernettiThis is the work by el Greco that has perhaps left the biggest mark on Spanish culture and art. The work is from 1518 and is imbued with a certain mystery: the identity of the man portrayed is unknown. But it is perhaps for this reason that he continues to represent –because of his posture, clothing and countenance– the worthy spirit of a knight in the 16th century. Laura Pérez Vernetti has reinterpreted this painting from a modern feminist perspective: the person portrayed is now a half-naked devilish woman.

Laura Pérez Vernetti (Barcelona, 1958) has been renowned as the most important woman author of Spanish adult comics for more than three decades, ever since she was a pioneer and published the legendary magazine El Víbora at a time when the presence of women authors in the field of comics was anecdotal to say the least. She won the Grand Prize at the 36th Barcelona Comic Fair in 2018 in recognition of her work. Vernetti claims she is a feminist and humanist. Her critical, poetic comics defend a sensual experience full of passion. The drawing style that Laura uses recalls the classic models of art history. It is a style that contrasts with the expressiveness of her narrative, which unfolds through the use of sensorial, dreamlike images. Her first books were published by Ediciones La Cúpula: El Toro Blanco (1989) and La Trampa (1990). The bulk of her work in Spain has been released by the prestigious publishing house Ediciones De Ponent: Las habitaciones desmanteladas (1999), Mil y una noches (2002), 11 M, once miradas (2005), Amores locos (2005), De ellas (2006), Guadalajara será la tumba del fascismo (2007) and El brillo del gato negro (2008). Her work has also been published by Éditions Amok (France: Nous sommes les maures, 1998), Grrrzetic Editrice (Italy: Le mille e una notte, 2007) and Assirio and Alvin (Portugal). She has collaborated with writers of the stature of Carlos Sampayo, J. M. Lo Duca, Felipe Hernández Cava and Antonio Altarriba.

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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