Curro González (Seville, 1960) recovers pictorial practices with new discourses whilst also reflecting on the representation of place in which to construct the illusion of reality. Irony and humour are regular features in his work as he utilizes them as two elements to move away from the serious and solemn discourse that permeates through contemporary art. Moreover, he continually plays upon the perceptive will of the viewer in his creations.
The project González has realised for Espacio Uno in the Museo Nacional Centro de Arte Reina Sofía is devised as a metaphor for history in general, particularly 20th century history, and for the way in which this history is comprehended and interpreted. In his work, González endeavours to convey the feeling of emptiness produced by overcrowded places and the number of elements the retina is capable of accumulating, in the process reaching an aesthetic close to Baroque. He also portrays the feeling of man in the crowd, a contradictory feeling like vertigo or the feeling of survival. The exhibition is composed in the form of a vanitas, with an awareness that the jungle or the desert will finally devour everything, and that “everything will be as if it had never been”.
In this exhibition González uses the swarm as metaphor, as in times gone by to illustrate the fact that something positive can come out of the destruction of war, something that materialises in the spirit of survival. According to the artist, “among all the human capacities there is one that plunges us back into the distant past, drawing together the species even beyond where it loses its name. Survival is human beings' biggest achievement to date, but for some reason it seems to cause us shame. We live on the ruins of the past as we rise from the bones of others, and we contemplate charred landscapes and terrible catastrophes; but despite everything we are still here”. González has created three works exclusively for this project: two large-scale canvases, each one measuring 375 x 600 cm. Both employ a mixed media technique and sit facing one another in a large room, together with a small drawing located inside the small room belonging to Espacio Uno in the Museo.
Reina Sofia Museum's Publications
From 14 May, 2020
With Three Wounds, I
From 13 April, 2020
Before the Threshold
Ignacio Gómez de Liaño
11 October, 2019 - 30 August, 2020
Time Is Mute
Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s
The Poetics of Democracy
Images and Counter-Images from the Spanish Transition
From 21 February, 2020
Kontakt with Guy Schraenen
Artists’ Publications, Sound, Films, and MoreMuestras documentales, Biblioteca y Centro de Documentación