Plots from the labyrinth: Dialogue with Beatriz Oggero and Orlando Alandia himself, about his work

With: Beatriz Oggero and Juan Pablo Torres Muñiz
 
Bea invites. I follow her, always with pleasure. Now, away from the garden. Paths.
Let’s go, more coffee…
By way of introduction,s he tells me a few years ago in a conversation, an Italian architect who specialized in the quatroccento said something that I always remember: “Beatrice, art became textile when it  left the wall and went to the canvas…”
And yet  I allow
myself 
 in the proper representation of robes, special fabrics, dressed in embroidery, in texture, a permanent evocation…


I have often been struck by the passion of some painters (and not minors) for representing the tissues. I remember how, after being totally shaken by Goya’s Fusilamientos in the Prado Museum, I stared at the detailed velvet brocade cloak in the
portrait of Doña Isabel de Francia, a caballo, by Velázquez, in another room.
And there are the paintings of Holbein; even served to name a style of carpets. The list is long, and in modern times the famous versions of Paul Cèzanne on Mount Saint Victoire are of great interest, in which the painter lets the canvas also participate in the work…

The hand opens.
Generosity.
Walking between the images… My dear Beatriz Oggero gives the name. Orlando Alandia. Architect, graduated in Italy. Before us, labyrinths; Enigma and revelation of the minotaur. Exploration that the artist repeats, deepens.

 

 

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Through the mist, the road: On dialogue with Arim Almuelle

By: Juan Pablo Torres Muñiz



Kilometers, miles; seasons, years. A chance of silence. Violent, inner struggle.

Traveling between, and also different paths, of questions and questions. Eyes eat up its thing, and a different vision, far from the simple representation, it was taking shape. Lets say, making use of the technical term’s double meaning, – indeed, it was revealed…,it was produced…
After all, coincidences regarding: issues to be shared…
Arim Almuelle. Long strides walk; flames on his eyes.
Thick voice and kind manners are part of. The key.
Here and there glass windows, folk art which he knows… Cigarette smoke in between… (That recalls other mists by the way)
 
 
 

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Interrupted dancer: About the new work of Ana Negro

By: Juan Pablo Torres Muñiz
 
The artist said she opted for a new way this time, with different materials, something simpler, and a more specific motive; indeed, it’s about smaller surfaces, some artwork that she thought them to be finished in less time than the others before. It’s also about an intensity issue; it was inferable, even though the comment will be omitted.
The impression, after watching the first finished paintings, took me vertiginously to the distinct silence I gave in myself before, when we met, until this moment after going through the very best of her work. More.
Justified, attempting to say something about.
 
 

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