Sala Parés presents in the framework of ART NOU’s schedule the exhibition of the young artist Carmen Alvar.
The exhibition will take place at the Espai 1 of the gallery and will last until October 7, 2019.
Carmen Alvar was selected in the 2018 edition of ART <35 and also participated in an institutional youth creation exhibition at the Capella in Barcelona.
Since then, Sala Parés has presented it at an international fair in the United States. This is her first solo exhibition in Sala Parés.
ART NOU celebrates this year its eighth edition as an artistic cycle dedicated to supporting emerging art. The galleries participating in this program promoted by Art Barcelona presents proposals by young creators, thus reinforcing the commitment to discover, disseminate and defend Contemporary Art and giving young artists the opportunity to present themselves for the first time in a commercial space.
The fascination for the found object, and the possibility of giving it a new life through collage, has been one of the conductive threads of Carmen Alvar’s trajectory. Since 2012, this attraction has resulted in research projects, the doctoral thesis Arqueología del objeto encontrado and belonging to La Recortada collective.
This exhibition is inspired by the Russian Vanguard and is based on issues raised by some of the most important movements that converged on it. The artist highlights her work with neutral images, inspired by the “cine-eye” concept of Vértov, which advocated the use of objective captures, and the supremacist aesthetic that, through simple geometric shapes and flat colours, sought to express states of consciousness in pure state and emotion free.
On the other hand, the assembly of the “pictures” recalls the constructivist sculptures made from pieces that, once coupled, include in the final result the spaces that the elements themselves close. It is interesting to note that research on the techniques developed by various authors has allowed her to transfer some of them to her work.
For example, thanks to the intersection of planes of different natures, she can create three-dimensional environments and pick up the ambition of El Lissitzky to integrate the sculpture into the two-dimensional work; or provide dynamism with the combination of different scales and perspectives, as Gustav Klutsis and Valentina Kulagina did, or introducing the vertiginous contraptions of Alexander Rodchenko’s photography. All these resources acquire meaning in the assembly that, returning to parallelism of Vértov’s cinema becomes the process that confers visual order and loads of meaning the elements and concepts extracted from life, in this case, from history.