hard and mild

Escalón is key to the trajectory of many creators, the program continues to be an opportunity to see the work of young artists. In this edition, they decided to reduce the number of prizes that go from one to six. With the technical assistance of Andrea Muniáin, the display places the pieces in two rooms.

In the back room, the projects show a taste for bland or immaterial textures. Aquí Élan d’Orphium (Badajoz, 1992) presents An act of lovea package made for a -20 degree freezer that contains you poor sufferers of frozen urine. Élan clarifies that it is not ordinary urine if it comes from golden rain: a practice in which urine directed at a lover’s body has sexual and emotional sensations.

The artist digs into this second dimension and refers to the work as a gift to La Casa Encendida, which means forging I have a sentimental conversation with her during the exposure time. Pajarillos will change each week based on the artist renting them.

If we are located on the back wall of the housing estate, the Élan cooling cabin is characterized by an architecture built in tones of amaryllis. For this work titled SubsidyVíctor Santamarina (Madrid, 1990) developed four structures hierro pilares recubiertos s hecho de vosk encofrado.

In its materiality, the building is destined for slow development, as in special version of Naipes Castle. Within an exhibition context such as Madrid, it is difficult for this work not to evoke a lingering life crisis.

Above all, Claudia Pagès Rabal (Barcelona, ​​​​​​​​1990) shows one a piece that passes around watermarks or watermarks. Convirtiéndolas in a disco light projection, shows in movement striking in the shapes of pears, towers or castles. The sound installation plays again, in which she describes the motif that the individual filigrees represent to her two-year-old sister, and the little girl persistently answers: “no”.

In the exhibition hall, the individual pieces are connected by a symphony of pink tones. Once at the door we were met with work Voiceless voice of girls (La voz muda de las chicas), where Hodei Herreros Rodríguez (Vitoria, 1997) reflects the female voice and make-up.

The project is made up of a combination of elements: on the one hand, we find an installation composed of a type of plant with needles in the shape of lips and where three walls (like an open house) are stored with a base of make-up. Inside, on the panel of the television, we see this structure used in one performance en la que Various women, cis and trans, do speech therapy exercises to improve their voices and form a chorus. The two statues see the silhouette of one of the rings in the background instructing each other to direct the song.

Meanwhile, on the wall, some deformed metal plates remain the outline of human mouths, acting as portraits to be painted with concrete women’s lips, which have been fixed with transparent nail enamel. The revival of make-up, a type of painting that is not as recognized as it should be associated with a woman, is here combined with a compilation of women’s voices for those who have been hurt by listening.

Work with stitches, stitches and satins, par You never have to put it in your mouth Maya Pita-Romero (Madrid, 1999) built a kind of tunnel. This type of decoration is penetrating for you to see with the idea of ​​”being loved by your significant other”. The work is made by decorating the curtains and canvases of your family, evoking a home interior and the inner part of the body.

The creator invokes the idea of ​​sanctuary, but also evokes the resonance of monsters. In our time, the aesthetic of the domestic lifestyle has become something aspirational, confronting the pressures of the working world outside the home. Here, Pita-Romero reveals the paradox of how these spaces are They provide protection, but can also function as extended locking enclaves.

Víctor Ruiz Colomer (Barcelona, ​​​​​​1993) is located between the media of the two works and explains the combination of hechas maquetas connecting a paste of books to learn to read. I try to create with this material “dissociative” architecturewhich is also extended to other facility operations.

It also makes available to the public a book by an artist who works with the texts of Ronald David Laing, who participated in the anti-psychiatry movement. He reinterprets Laing’s work, combines it with his own, and restores the standard of sculpture to the volume. In this article, we summarize some of the elements that are gluten-free in this edition, of which inner and outer, hard and soft are combined with sights that confound canonical dichotomiesand they better approach the world from the paradoxical union of opuestos.