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AURAL_ARCOMadrid 2022

STAND C710 Pabellon 7- IFEMA VIEWING ROOM COMIMG SOON - STAND C710-Pabellon 7 Pep Agut | Concha Jerez | Urs Lüthi | José Maldonado | Fernando Sinaga | Javier Vallhonrat - SHOWROOM STAND C710-Pabellon 7 Anna Bella Geiger | Judith Egger | Mirjam Kroker | José Maldonado - ARCO E-XHIBITION FEBRERO - ONLINE Anna Bella Geiger | Judith Egger | Mirjam Kroker | Urs Lüthi | José Maldonado | Fernando Sinaga → Please click on the photo to access additional information and detailed photos. ↓ More information about the artists is available below. Aural Galería | Alicante · Labradores 17, +34 617050603 | Madrid · Pelayo 68, +34 912595508 | info.auralgaleria.com | www.auralgaleria.com
- ARCOmadrid 40+1

Aural

ARCOmadrid 40+1

ID: Aural_67

Edition: Unique

 

Variable measures

- Aural Invitación. ARCOmadrid 2022

Aural

Aural Invitación. ARCOmadrid 2022

ID: Aural_71

Edition: Unique

 

Variable measures

- Aural ARCO STAND →

Aural

Aural ARCO STAND →

ID: Aural_63

Edition: Unique

 

Variable measures

- TEMPUS

Concha Jerez

TEMPUS, 1989-2016

ID: CJ_18

Edition: Unique

 

22 plastic corbels and 22 intervened glass vessels with illegible self-censored writings made in black marker.

Variable measures

- O pao Nosso de cada Día

Anna Bella Geiger

O pao Nosso de cada Día, 1977-1978

ID: ABG_040- ed?

Edition: 30/30

 

Vintage postcards and silk-screened paper bag

52 x 53 cm

- Silicium I y Silicium II

Judith Egger

Silicium I y Silicium II, 2016

ID: JE_09

Edition: Unique

 

Collage, silicon disk and handwritten with pen on paper. (I) Print with pigmented inks on Hahnemühle paper.(II)

36.5 x 65.5 x 4 cm

- Selfportrait (the Emigrant)

Urs Lüthi

Selfportrait (the Emigrant)

ID: UL_17-001

Edition: 1/3

 

Patinated bronze on lacquered wooden base.

165 x 38 x 38 cm

- Selfportrait (Transmission Error II)

Urs Lüthi

Selfportrait (Transmission Error II), 2015

ID: UL_09

Edition: Unique

 

Ultrachrome pigmentprints

155 x 115 cm

- Selfportrait (Pills) #2

Urs Lüthi

Selfportrait (Pills) #2, 2016 / 2017

ID: UL_12 #2

Edition: Unique

 

Ultrachrome pigmentprints

155 x 115 cm

- Relativement, tel que moi (CsO)

Fernando Sinaga

Relativement, tel que moi (CsO), 2012

ID: FS_37

Edition: Unique

 

Iron, steel, boxwood and oak.

83.3 x 183.1 x 2.6 cm

- Idea de parlar - Idea d'actuar

Pep Agut Bonsfills

Idea de parlar - Idea d'actuar, 1998-2000

ID: PA_08

Edition: Unique

 

Mixed technique

100 x 70 cm

- NADA QUE VER

José Maldonado

NADA QUE VER, 2021

ID: JM_39

Edition: Unique

 

Mixed media on canvas.

200 x 150 x 3.5 cm

Aural Galería | Alicante · Labradores 17, +34 617050603 | Madrid · Pelayo 68, +34 912595508 | info.auralgaleria.com | www.auralgaleria.com PEP AGUT (Terrassa, Barcelona, 1961) Studied at the Facultat de Belles Arts de Sant Jordi of the University of Barcelona (1979-84). He played at the XXIII Olympiad - Los Angeles (1984). In 1988 he moved to Cologne (Germany) until 1991 when he was invited to Paris by the Fondation Cartier. He moved back to Barcelona in 1992, and he’s currently living in Terrassa. Pep Agut, sometimes framed in the post-conceptualism of the 1990s in Spain, reflects largely on the role of the artist, the problem of representation and place of art within a system that he considers weighed down by spectacularization and in which work of art is reduced to mere merchandise, but at the same time, and particularly since the 1980s, he is shown as one of the main actors on the set founding of neoliberalism. He has had solo and group exhibitions in large events such as the XLV Venice Biennale (1993), Prospekt (1996), the XI th Sidney Biennale (1998), Art Unlimited, Basel (2004) as well as in museums such as the Tel Aviv Museum of Contemporary Art (1993) or the MACBA, Museu d’Art Contemporani, Barcelona (2000) among others. He has coordinated and participated in seminars and conferences and has lectured at the University of Barcelona. SELECTION OF WORKS IN COLLECTIONS ARTIUM Museum of Contemporary Art of Vitoria. Vitoria; Bank of Spain, Madrid; Collection Caja Mediterráneo Foundation, Alicante; CAPC Musée d’Art Contemporain, Bordeaux; Caixa Collection Terrassa. Terrassa; Cajamadrid Foundation Collection, Madrid; Coca-Cola Foundation Collection, Madrid; Dhont-Dhaenens Museum, Deurle; ECB European Central Bank, Frankfurt; Fons d’Art of the Generalitat de Catalunya, Barcelona. FRAC Haut Normandie, Rouen; FRAC Languedoc-Roussillon, Montpellier; La Caixa Foundation, Barcelona; MACBA Museu d’Art Contemporani de Barcelona, Barcelona; MNCARS Reina Sofía National Art Center Museum, Madrid; Rochechouart Departmental Museum, Limoges. JUDITH EGGER (Bavaria, Germany, 1973) lives and works in Munich. She begins her relationship with art by working as a woodcarving sculpture apprentice in Oberammergau, Germany (1992-93). She obtained a Diploma in Design in Communication FH Augsburg, Lancashire University, Preston, UK (1993-1997) and in 2001 she graduated from the Royal College of Arts in London. She is the artistic director of the international art project “open-here” financed by the European Union (2006-07). She is currently the director of the ‘Institute of Hybristics and the Empirix Sciences of Swelling Bodies’ which investigates the strength and transformative power of organic energy, and also directs the experimental music brand Edition Graphon. Among her individual exhibitions stand out both in public and private institutions The bone chandelier, Stockwell Studios, London (2003); Accumulation, installation, Kentler International Drawing Space, NY, USA (2004); Biotopie, Lothringer13/Laden, Munich, Germany (2005); Chamber of resonance with Manuel Eitner, OPERATION TABLE/QMAC, Kitakyushu City, Japan (2012); Fit durch den Advent, KloHäuschen, Munich; KRAFTRAUM FÜR FEINSTOFFLICHE WESEN, Kunstraum Bogenhausen, Munich (2015); Biotopias Parasitas, Root, Gm3 Landscape Studio, Madrid (2016); nHUNDUN, Installation, Institut für moderne Kunst Nürnberg, Defethaus, Núremberg; URSPRUNG/ORIGINS –eine Versuchsannäherung, WhiteBOX, Munich (2017); Transmission wood, Installation & video, sometimeStudio, Paris (2018). And in galleries such as Galerie Behringer in Munich, Galerie K25 in Ulm, Neue Galerie Landshut e.V., Galerie Esther Donatz and Galerie Max WeberSixFriedrich in Munich or Lost in shrubland with Aural gallery, Alicante (2019). Regarding her participation in collective exhibitions, we highlight the inaugural exhibition of the Hybristics and the Empiric Sciences of Swelling Bodies, Jahnstraße, Munich (2004); and those held at the Museum of Contemporary Art, Debrecen, Hungary (2007), Milan, Mérida (Mexico), Cali (Colombia), Vienna, Oradea (Romania), Kunsthalle München, Munich; Kunstverein Munich, National Art Gallery of Namibia, Galérie du Lycée Jean de la Fontaine, Chateau Thierry, (France), 4th KloHäuschen Biennale in Ottobrunn and Munich, Stadt- und Spielzeugmuseum in Traunstein, Germany (2018) ANNA BELLA GEIGER (Rio de Janeiro, 1933) works and lives in Rio de Janeiro, Brazil. She is one of the most valued Brazilian artists on the international scene, considered one of the pioneers in using non-conventional means to experience other ways of posing and questioning what happened in Brazil. Although her beginnings in the 50s were abstract, in her first stays in New York she was stimulated by the questions posed by conceptual art, it was in the 70s when the cartographic principle is found as a privileged instrument of a critical vision and the beginnig of a stage of deep debate on the relationship between Brazilian (peripheral) culture and European and North American (centralized) cultures. With her hybrid maps, visionaries and critics, full of anticolonialist clamor, Anna Bella’s works reflect the idea of decolonization. She questions the given maps, rewrites them showing the process, the stages, the cartography, documents, alters them and makes them visible through resources, procedures and languages that allow them to turn the hegemonic narrative into a spatial concept and revise the political concept of said space. Geiger develops a contemporary poetic of the space, but the doubly contemporary condition of the artist is evident in the approach of the liberation of the autonomy of art and the specificity of the media as closed elements, keeping the pulse with each one of them in the attempt to establish interdependencies. Anna Bella, attracted by the intimate and subjective character of the video and the metalinguistic game, discusses the narratives of the television productions of that time, where consumption and passivity propagated by mass culture reproduced a vision contrary to everyday reality. IGNACIO GÓMEZ DE LIAÑO (Madrid, 1946) is a writer, philosopher, translator and university professor. Some have considered his production as a cultural reference within the current Hispanic scene. He is an experimental poet, a founding member of the Artistic and Craft Production Cooperative. He participated as coordinator of the Seminar on Automatic Generation of Plastic Forms of the Calculus Center. Gómez de Liaño is one of the key figures for understanding the scene of experimental poetry in Spain. His work focused on theoretical elaboration, through manifestos, and on the organization of events and collective exhibitions around experimental poetry, which made numerous foreign artists known in Spain. Ignacio Gómez de Liaño joined the Problemática 63 movement in 1964, led by the Uruguayan Julio Campal. That brought him closer to the Brazilian “Concrete Poetry” of the Noigandres group or the French “Spatialism” theorized by the poets Ilse and Pierre Garnier, whom he studied in depth. His first poems were in the orbit of the geometric abstraction of typographic language, characterized by objectivity and reflection. Those contacts and numerous trips around Europe allowed him to meet Françoise Bory, Julian Blaine, Arrigo Lora-Totino, Adriano Spatola or Max Bense, but above all to publish his first manifesto five years later, Abandonner l’ecriture (1969). This inspiration made him travel through an aesthetic territory in which the points of view of poets, musicians and plastic artists converged, because the latter with Herminio Molero and Manolo Quejido, among others, led him to found the Artistic and Craft Production Cooperative ( 1966-69), through which some members of the Castilla 63 group (Elena Asins, LUGAN and Julio Plaza) or foreign artists such as Lily Greenham and Alain Arias-Misson passed, with the aspiration of the social function of art, rejecting commodification and the fetishism of the artistic object. It should not be forgotten that Gómez de Liaño was marked by the French May 1968 and thought that the street was a meeting place and spontaneous theater in that desire to “bring poetry to life”, transferring poetry to the street, which in the Spanish case, for reasons of historical context, it had great critical significance. CONCHA JEREZ (Las Palmas de Gran Canarias, 1941) lives and works in Madrid. InterMedia Artist. High School Diploma at Washington Lee High School (United States). Concha Jerez graduated in Political Science and studied piano at the Royal Conservatory of Music in Madrid. From 1970 she dedicates herself professionally to art. She has combined her production with teaching, being an associate professor at the Faculty of Fine Arts of the University of Salamanca between 1991 and 2011. Since 1989 she has developed important international projects in collaboration with the artist and composer José Iges. She continuously performs various individual works from 1973 to the present in Spain, Portugal, France, Belgium, Holland, Denmark, Sweden, Finland, Italy, Germany, Austria, Poland, the Czech Republic, the United States, Mexico and Argentina. Since 1976, he has focused his work on the development of the concept of Installation, as an In Situ work, in large-scale specific spaces -many works with an InterMedia character-, expanding his activity to Performance since the early 1980s and from the early 1990s to InterMedia concerts and the creation of works of Radio Art. Along these lines, she has produced works of Radio Art for stations such as ORF, Radio France, RAI, BBC, YLE, ABC in Australia, WDR in Cologne and RNE. Among his individual activities, it is worth highlighting a large number of large-format installations (many of them InterMedia Installations that include video and sound among other media), Exhibitions, Actions, Performances, many of which with the composer and InterMedia artist José Iges. She has also made works of Art for the Internet, InterMedia Concerts, and sound and visual InterMedia Installations with this artist. As of 1998, the interactivity developed through sensors occupies an essential place in her works with Iges. She has permanent works in museums such as the Moderner Kunst Museum in Nörkoping (Sweden), Vostell Museum in Malpartida, Staatsgalerie in Stuttgart, Museum Wiesbaden, ARTIUM, Reina Sofía Art Center Museum (MCARS), Santander Museum of Fine Arts, Jovellanos Museum, MUSAC in León, Villafamés Museum and in collections such as the Fundació Caixa of Pensions of Barcelona, ​​that of the Community of Madrid, Brigitte March of Stuttgart, Schüppenhauer of Köln, Pilar Citoler Collection, Lafuente Collection, Caja Burgos, National Library, CAAM (las Palmas de Gran Canaria), Banco Sabadell, among others. among other. In 2011 she was awarded the Gold Medal for Merit in Fine Arts, in 2015 with the National Prize for Plastic Arts, and in 2017 she obtained the Velázquez Prize for Plastic Arts. MIRJAM KROKER (1982) Semi-nomadic, with academic training in Social and Cultural Anthropology and Fine Arts. Interested in the process of acquiring, producing, co-producing, adapting, inhabiting, transferring, integrating, reflecting and disseminating different ways of knowing. He approaches artistic creation as a situated practice and thus travels and works in various places and sometimes approaches collaborative research and seeks to work across disciplines. His work has been recognized through various grants and scholarships, such as the IFA Research Grant, the Austrian Research Society ÖFG, the Saxon Scholarship Program, the STEP BEYOND Travel Grant, among others, and supported through international programs. of artists in residence such as cultureland nl, Amsterdam and Residence on the island of Örö, Finland. Mirjam’s way of working is multimodal, research-based and extends from sonic recordings, document drawings, video sequences and objects, to working environments and spatial narratives. With a tendency to conceptual ideas and imaginative thinking, she approaches works of art as devices to think with the whole being and potential to reconfigure small details of reality. The collaborative on/off collaborative efforts that she co-founded as a member, to seek to work together beyond geographic limitations while in disparate geographic locations, were made accessible to a wider audience at the invitation of the Museo Casa del LAGO in Mexico. City in 2016. ​ Her work was recognized through the Caspar David Friedrich Prize 2019 and the Federal Art Prize “Bunderspreis für Kunststudierende”. As well as the current support through receiving a scholarship from the Saxon state for a period of 2 years. URS LÜTHI (Lucerne, Switzerland, 1947) Lives and works in Munich. Essentially, he is known as a Body Art artist; nevertheless, he has developed a very personal way of making art, through expressionist-abstract painting. Urs Lüthi has always focused his research on the issue of identity, investigating his own image with irony and wit. From an autobiographical, subjective, experience, he achieves a social and existential critique that embraces the whole community. Inspired by Duchamp’s Rrose Sèlavy, the artist address matters such as sexual ambiguity and the Myth of the Androgynous, the faultless being that is both masculine and femenine. For Lüthi, disguise means breaking the taboo of sexuality, crossing identity barriers and playing with the relation between reality and fiction, associated in a continuous reference of meaning. Subjectivity and objectivity are related notions, what matters is to be able to make visible the innumerable aspects under which reality is manifested. Urs Lüthi’s artistic research is distinguished by the remarkable agility with which the artist moves in different fields of expression. His work is presented as an extremely multifaceted set, both because he uses the most varied mediatic pattern, and because he moves on the most diverse expressive levels. Solo exhibitions of his work have been organized in important institution all around the world such as: Stedelijk Museum, Amsterdam; Kunsthaus, Zürich; The Winterthur Museum of Art, Winterthur; Museum of Contemporary Art Chicago; Le Centre Pompidou, París; Nationalgalerie and Neue Berliner Kunstverein, Berlin; Musée d’Art Contemporain, Lyon; Hara Museum of Contemporary Art, Tokyo; Kunsthalle, Wien; Ludwig Museum, Budapest; Santiago Museum of Contemporary Art, Santiago de Chile; Tate Modern, London; Palais de Tokyo and Musée d’Orsay, París; Kunstmuseum Luzern, Lucerne; MARTa, Herford; Institute of Contemporary Art, Philadelphia; MAMC, Saint-Étienne; MAMCO, Geneva, Parkview Museum, Singapur; Palazzo Grassi - Punta della Dogana, Venice; and MOCA, Toronto. Lüthi has participated in international art events including: Trigon ‘73, Graz (Austria, 1973); 13. São Paulo Biennial (Brazil, 1975); Documenta 6, Kassel (Germany, 1977); Sydney Biennale (Australia, 1978); II Internazionale Foto Triennale, Esslingen (Germany, 1992); Seoul Biennale (South Korea, 1995); 49 Venice Biennale (Italy, 2001). JOSÉ MALDONADO (Madrid, 1962) Lives and works in Valencia Plastic Artist / Audiovisual and TRANSMEDIA / Professor of New Media Faculty of BBAA, Altea de la UMH, Elche, Alicante. In 1982 he began his activity as a self-taught artist, participating in national and international creative trends and collaborating as an illustrator and collaborating artist in publications of the time: La luna de Madrid, Madrid me mata, Madriz (magazine). He develops his creative activity in international galleries: Juana Mordo, Toni Estrany, Froment & Putman, Denise Van de Velde, Helga de Alvear, Aural, T20. He has shown his work at the Museo Nacional Centro de Arte Reina Sofía (MNCARS), the Valencian Institute of Contemporary Art (IVAM), Prospect in Frankfurt, the CAPC in Bordeaux, La Caixa or the Institute of Contemporary Art in Lyon, among other relevant places. . His work is present in national and international, public and private collections of great prestige: Reina Sofía National Art Museum, Caixa de Pensiones, Patio Herreriano Museum, Marugame Hirai in Tokyo. He has a degree in Fine Arts from the University of Salamanca and a Doctorate from the Polytechnic University of Valencia. He is currently a professor at the Miguel Hernández University of Elche, Faculty of Fine Arts in Altea, where he teaches Intermedia and Transmedia subjects. His current work (project in development) revisits a large part of the productive corpus made throughout the nineties, starting from a finding that serves as a threshold: the impossibility of producing a full and satisfactory “feeling” of the communicative link that expresses the reality of the subject, his intentions and his vital communication needs. The dimensions of language and transcoding alterations, as well as the analysis of allegorical structures are at the center of his work. BRUNO MUNARI Bruno Munari was born in Milan in 1907. During his youth, Munari was attracted by the theories of futurism, and he exhibited his works in some futurist shows. In 1923, he wrote with the artist Aligi Sassu a manifesto, Dinamismo e pittura muscolare (dynamism and muscular painting), that was based on the futurist principles of art as movement, celebration of machines and technological progress. Few years later Munari started working on the Macchine inutili (useless machines), first exhibited in 1933: mechanisms presented as experimental models investigating the possibilities of perception, making him a precursor of the optical art. Considered one of the greatest protagonists of art, design and graphics of the 20th Century, he maintained its whimsical creativity in support of the investigation of construction of form through tactile and visual experiments and his great ability to communicate with words, objects and toys. After the war, Munari slowly abandoned futurism and started to gravitate towards the Movimento Arte Concreta, a movement that was completely rethinking non-figurative art, highlighting the difference between abstract and concrete art. He has participated in various exhibitions at: Museum of Modern art of Hayama (Japan), Andrew Kreps Gallery (New York), Kaufmann Repetto (Milano), Estorick collection of Modern Italian art (London), Museum für Gestaltung (Zurich), Museum of Modern Art Fundación Soto (Bolivia), Kunstgewerbeschule (Basel), Howard Wise Gallery (new York), Museum of Moder Art Tokyo and MoMa (new York). Among his most important works of this period are the Proiezioni di Luce (Light Projections); Libri Illeggibili (Illegible Books); Macchine Aritmiche (Arrhythmic Machines); Oggetti trovati (Found Objects), while still working on the Macchine inutili. In 1951, Negativo-positivo is on the cover of the French magazine Art d’Aujourd’Hui, that dedicated a monographical number to Italian abstract art. In 1954, he won Compasso d’oro, the most prestigious Italian prize dedicated to design and figurative arts, for the rubber animal models designed for Pirelli. His fame further increased, and he started to held solo and collective shows in some of the most importants museum institutions. In his later life, Munari was worried by the misperception of his artistic work, which is still confused with the other type of his activity (didactics, design, graphics), and decided to select art historian Miroslava Hajek as curator of a selection of his most important works in 1969. This collection, structured chronologically, shows his continuous creativity, thematic coherence and the evolution of his artistic thought and philosophy throughout his entire life. Munari died in Milan in 1998. JUAN CARLOS NADAL (Alicante, 1966) Lives and works in Valencia since he began his studies until today. He graduated from the Faculty of Fine Arts of San Carlos UPV and receives the Circuit d’Art Contemporani Scholarship. Art Visual Scholarships and the ARTE Y DERECHO Foundation Scholarship. VEGAP in Madrid in 2011. He has exhibited in public institutions and art galleries, among which we highlight Galería Canem, Castellón in 1993; Edgar Neville (1994); Valle Ortí, Valencia (2003 and 2004; Maliarka, Alicante (2005); PazYcomedias, Valencia (2009); 3PUNTS, Barcelona (2014); Espai Salmaia, Altea (2016); Karin Wimmer Gallery, Munich (2017); Aural Gallery, Alicante (2013 and 2018). He is one of the most interesting and consistent artists in the context of research and experimentation on concepts such as time, movement or painting as action and process. Concepts that are projected both in their pictorial and spatial processes through sculpture. For Nadal art provokes sensations and these in turn thoughts. Like Deleuze in alliance with Proust, he said that “thought is nothing without something that forces it to think, that does violence to thought”. Deleuze considers fundamental encounters that put into play another experience of exercising the faculties of feeling, remembering, imagining, thinking. The work of Juan Carlos Nadal is directed in this direction, in provoking this type of encounter with the works. In relation to Deleuze’s philosophy in resonance with the work of art in confluence with Nadal, this is understood as a principle of intensive proliferation of readings that ends up diluting centers and convergences in favor of an intensive zigzag coexistence. There where object and painting can merge as remains of a conflict, in that space that is pure helplessness, Nadal has created a work that is simply exemplary: a pictorial testimony that goes into the tremendous abyss of our time, says Fernando Castro Flórez in ” Homeless Dépeindre” 2002, about the artist’s work. He has carried out several public works such as “Ona” in the Tunnel of the stairs of the IES Jorge Juan de Alicante in 2015. His work is represented in museums and public and private institutions such as IVAM, Valencia; MUA, Alicante; Alicante Provincial Council; Alicante City Council; Valencia City Council; CAM Collection, Alicante, Cervantes Institute of Munich, as well as in private collections. FERNANDO SINAGA (Zaragoza, 1951) lives and works in Salamanca. His artistic training takes place in the city of Zaragoza until the beginning of his studies of Fine Arts in Barcelona, where he obtained the Amigó Cuyás Scholarship in 1972 and the Castellblanch Scholarship in 1973. In 1976 he finished his studies at the Escuela Superior de Bellas Artes de Madrid and receives the Dirección General de Bellas Artes Award. In 1983, and due to his interest in Goethean studies, he obtained a scholarship from the Fonds für freie Erziehung, in Zürich, to continue his studies on color theory. In 1984 he received a new research grant to study Public Sculpture in the US and upon his return from the United States he obtained a teaching position at the Faculty of Fine Arts of Salamanca, establishing his residence in this city until now. The exhibition of Sinaga The German Breakfast (1986), held at the Villalar Gallery in Madrid revealed the work of this artist within the Spanish scene of the 80s and since then his work has been exhibited in different galleries and museums in Spain, France, Belgium, Germany and the USA. His artistic career has received public recognition from the Valparaíso de Almería Foundation, the Villa de Madrid Prize for the best sculpture exhibition held in this city in 2001 and the 2010 Aragón Goya Prize, awarded by the Government of Aragon to his outstanding artistic career. Thus, his work is represented in both private and public collections. A long with his teaching career at the University of Salamanca, Fernando Sinaga is, at once, one of the greatest sculptors with solid experience in the field of the European creation in recent decades. While it has been present in the art scene since the late 1970s, his work became more important from the second half of the 1980s. The nineties represent another twist, ordering his creations into an art that can be considered heir of the European post-minimalist heterodoxies. Sinaga, through his work, through his work, shows a strong experimental will attached to a transversal and diversified trying to arrange connections and links from different backgrounds. JAVIER VALLHONRAT Since 2010 Javier Vallhonrat has developed different projects in high mountain environments. Through “La sombra incisa”, the artist establishes a prolonged, intimate and silent dialogue with the Maladeta glacier, (Huesca Pyrenees), a unique historical redoubt in southern Europe that survives the effects of climate change in conditions of extreme vulnerability. climate. During part of the month of August, the glacier loses the snow cover that protects it, revealing the complex silhouette of this entity of ice that the artist tries to record by melting a recording device and provisional habitat into a high-mountain tent. The prolonged action of remaining on the edge of the glacier - a childish, poetic and absurd gesture - allows him to simultaneously record, itinerary, stay and accompany this unique entity that inevitably disappears. From an awareness of alterity, the perception of this alien and threatening niche gradually transforms into awareness of a highly vulnerable place, in which knowledge, affection and immediate experience allow him to dialogue with the glacier in conditions of uncertainty. “La sombra incisa” seeks to give visuality to this process of accompaniment and knowledge around that entity. Working along the edge of the glacier, a line in shadow, is a metaphor for the richness of the spaces of silence, shadow and emptiness that interest him. Javier Vallhonrat’s work contains a strong metalinguistic component, always questioning the photographic language itself. The author places the viewer before the perplexity and astonishment of what he is observing, leading the gaze towards the uncertainty between the real and the imaginary. With this project he won the 2019 Enaire Foundation Lifetime Achievement Award.