11/07 – 09/08/2019

Algunas formas de contemplar el tiempo

Virginia López

Degree in Art History (University of Oviedo) and Fine Arts (ABAF, Florence-Aalto University, Helsinki) Virginia López founded PACA (Artistic Projects Casa Antonino) in 2014, an interdisciplinary artistic creation space. From this moment, Virginia starts a line of collaborative and procedural artistic projects around the landscape, where artistic and educational practice constitute moments of encounter and co-creation. The artist’s work travels through different media and techniques, such as photography, painting, sculpture, publishing and installations. His work investigates the temporal dimension and the concept of memory and transistority through the materials used, understanding these as containers of time. Currently, Virginia López combines his practice as an artist with teaching and curating projects in collaboration with public and private institutions.

Currently, Virginia López combines her practice as an artist with teaching and curating projects in collaboration with public and private institutions.

Horizontal is the river to look better at the sky

Contemplation requires time, intensity, reflection, is an attentive look at the material and the spiritual. And in this passing, in which contemplated object seizes the subject, in that disappear, we find ourselves or, perhaps, we simply begin to be part of a new sensible world, which is behind, within or between things. If the visible is the surface of a depth, our body does not illuminate or explain it, it only concentrates the mystery of its distributed visibility.

Palomar waited for a signal that would come from the silent extension of things, to finally realize that it was best to wait for one of those lucky coincidences in which the world wants to look and be looked at the exact same moment², all he had to do , was, at that time, found in the middle, being part of the fabric of things.

Almost all the pieces of the exhibition show or are born in a repeated and constant, slow gesture, which facilitates a concentrated and contemplative time that the artist assimilates with her creation processes. They are observation exercises, pleasures of the painter who returns to his workshop (wherever and however he may be), of warm and intimate encounter with the ephemeral appearance of things, with his remains, with his repetitions and desires, with manual work that conveys silence, matter and memory.

¹ Paolo Nepi, Merleau-Ponty, Tra il visibile e il invisibile. Edizioni Studium, Roma, 1984.

² Italo Calvino, Palomar. (Il mondo guarda il mondo), Einaudi editore, Torino, 1983.