For an art gallery, summer is synonymous with inventory. As much as the warehouses can be arranged, there are always loose fringes that accumulate throughout the year. In fact, in fact, many of the group exhibitions that usually close the season in July have come out. A job that this year arises, too, by stumbling. Joan of Aizpuru started checking his stock as soon as the confinement arrived and, since then, he offers his clients many of the works that he has in the bedroom with a discount worthy of the third sale. Every strategy is little to not let the pulse fade. Veterans know it, those who have seen the worst and best moment in crisis to turn the art system around. It is the talk among the gallery owners who these days try to find normality by reviewing pieces and artists with whom they have been working for years, as if they were looking in their own history for a kind of emotional witchcraft. The one that Nieves Fernández posted as a photo a few days ago on his instagram thrills. There was her grandmother, with the same name and his same profession: full-time gallery owner. Remembering where we come from has always been the best impulse to be able to give another greater one towards a future that is more than uncertain.
The exhibition Early Works / Early Works, in the Elba Benítez gallery, it goes along that line. The first works always cause a special fascination, especially seen after a time lag that only accumulates changes and constant revisions in the artists. An exhibition full of curiosities, such as seeing the work again Untitled (1986) by Cristina Iglesias, where you can already see the combination of foundation and lightness that will play such a leading role in her sculpture years later. OR Pictures of Holes (1997), by Vik Muniz, always a sculptor, although what we have in front of us is a two-dimensional work full of chocolate, scrap or toys, all signs of the society to come. The icon is, in fact, the common thread in the Heinrich Ehrhardt gallery, which houses the exhibition When B meets C and D, an intelligent sample full of inverted perspectives with the list of habitual artists of the gallery. Although they see abysmal differences between them, everything has an almost impossible to explain coherence, like the collective affinities that define us without knowing why. André Butzer, Julia Spínola, Mauro Cerqueira or Thilo Heinzmann among others, try to recreate that organic space of the common by staging a beautiful dance between appearance and representation: the quintessence of art.
Two of the youngest heads of his team stand behind the collective of the Travesía Cuatro gallery, as a professional shuttle. They draw on keywords that define contemporary art today: archeology of the present, criticism of the Anthropocene and molecular language with a title that refers to palpable reality as the tip of the iceberg of a hidden world that we barely know: Scratching the surface. We scratch the visual surface a little and find a dialogue between art and nature very in tune with the one Joan Jonas launches from the rooms of the Thyssen Museum. Cultural diversity translated into endless landscapes of a present thought as a physical layer that accumulates time in the same way that a battery stores energy. Much will be needed to weather this complex year from the art world. This seems to refer also to the collective entitled Scroll, at The Goma gallery. She refers to a mixture between stroll (stroll in English) and strolch (tramp in German), to speak of movement as intensification of psychic life and as that escapist exercise of our routines. The absence, the isolation, the extended time, the computer screen as a window to reality in the hands of the habitual artists of this space, from Pierre Descamps, to Enrique Radigales passing through Cristina Garrido.
Somewhat more sophisticated is the exhibition presented by the NoguerasBlanchard gallery: One strike, everything is scattered. Hans- Peter Feldmann, Marine Hugonnier, Perejaume, Valeska Soares and Antoni Tàpies think about painting in its most traditional aspect away from the traditional white cube and in a staging that brings us closer to the idea of the Paris Salon that was born in 1673 with the First semi-public art exhibition organized by the Royal Academy of Painting and Sculpture, and which took place in the Carré Hall of the Louvre. The recreation of that spirit and the twist to Lissitsky’s squares in the title open the work of these artists so different from each other to an endless number of common cosmologies.
Another return to the scope of vision is given by Sabrina Amrani in the collective that she currently has in her galleries. See versus see reflects on what is beyond the visible, with the work of many artists with whom he usually works. Amrani is one of the galleries that has gone on to the virtual tour in 3D, with which you can tour its fantastic space viewing the exhibition from anywhere. A positive handicap to a gallery that has always had a clear vision of where the future of art is going and that has not hesitated to risk when opening a space in a neighborhood as little traveled by the artistic context of Madrid as Carabanchel. Although if someone has launched an inventory, what a collective can give is the MaisterraValbuena tandem. They do this as a chain exposure with a cycle of 28 short exposures that run through February. The first Meeting (this is the title of the cycle) is between two painters to claim: Amalia Avia and Sarah Grilo. Exceptional idea for an exceptional moment.