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Laberinto Gris

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METAL-PIEL IV
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on canvas.
In a format of 95 x 78 cm. ( 38.18 x 30.70 in. )
Year of realization 2008.
Published on the inside of the author's book Siameses, page 44.

From the serie Metal-Piel made between 2008 and 2009 they have been exposed on spaces as the Metelkova Museum, Can Framis Museum, La 4ª Bienal de Arte Contemporáneo de Moscú, National Museum of Slovenia, Fran Daurel...

The face and the otherness.
A face is an invaluable part of any portrait, an epiphany which can never be embraced. Variations and small differences evoke a certain repetitive desorption where one discovers the power of simulation, which is, together with the efficiency of displacement, where one’s appearance fades into in the disguise. It may in fact be that a face is nothing more than a backdrop for a scene that does not develop, except in the intermission. It is as if there is a permanent metamorphosis, yet dismantling the face is by no means simple, as Deleuze reminds us, one can easily slip into madness. It is not by chance that the schizophrenic simultaneously loses the sense of his face, both his own and those of others, or the sense of his surroundings, his language and its predominant meanings. “Dismantling one’s face – as he affirms in A Thousand Plateaus – is the same as climbing over the wall of meaning and climbing out of the black hole of subjectivity”. We also know that fantasy governs reality and a mask can never be lifted without taking a bit of flesh along with it. The Other can have the features of an abyss, in the same way that symbolic order is found to be hidden by the fascinating presence of the object of fantasy “We experience it every time we look into the eyes of another person and feel the depth of their gaze”. It is prudent to remember that when the subject gets too close to fantasy, (self)nullification occurs. The art is left as aphanisis. Medusa’s gaze joins together dreams and death definitively. There is no question that the altered face is crucial to the work of Rómulo Royo, who paints as if he aims to evoke the idea, to quote Valery, that what is deepest is in fact the skin.
By Fernando Castro Florez. Art critic and member of the Advisory Board, Reina Sofia Contemporary Art Museum

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena

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SIAMESE
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on translucent paper with frame.
Size 100 x 70 cm. ( 39.37 x 27.55 in. )
Measures with frame 118 x 88 cm. ( 46.45 x 34.64 in. )
Year of realization 2008.
Signed in the bottom left of the piece.
Published on the inside of the author's book Siameses, page 28.

Inside the Siameses and Metal-Piel serie, beats a certain eroticism I dare to term “sadomasochistic”. Straps, clamps, leather, these anomalous masks deem pleasure to be within the limits of pain. Although anything strictly sensual or even pornographic lies plainly out of bounds, ultimately what we see is disturbing, as if we were about to open the door onto our darkest desires.
By Fernando Castro Florez. Art critic and member of the Advisory Board, Reina Sofia Contemporary Art Museum.

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena

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DARK ROOM SERIE
Luis Royo
DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 24 x 33 cm. ( 9.44 x 12.99 in. ) in a format of 33 x 42 cm. ( 12.99 x 16.53 in. )
Year of realization 2017.
Signed on the bottom right of the piece.
Work made for the collection Dark Room.

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena

According to exhibition curator, Jennifer Kabat, Vamps & Virgins exposed the secret history of the pin-up, which reflect the 20th century history and shows how the role of women has changed and their images have been employed for more than 100 years. “The development of the pin-up and its accompanying spread of scantily-clad ladies across American culture, from adverts and billboards to TV, is easily the most important event that impacted on women’s rights, the history of sexuality, and feminism over the last century,” Ms. Kabat said. “In this post-modern and post-Playboy world we are used to our models becoming self-aware, self-assured and as self-described feminists, but it wasn’t always the case.”
At its beginnings, erotic was far more explicit than contemporary images. Traded privately, these pictures have now a quaint feel with their couples (and threesomes, foursomes and more) sporting serious expressions and often matching outfits. Toned down as soon as the images spread to the population in postcards form, the model started to use the camp, shy expressions that are the genre’s hallmark, reaching her highpoint with Bettie Page. After Page, the style changed again, turning towards the explicit look of the contemporary centerfold.
Museum of Sex (New York)

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DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 in. )
Year of realization 2017.
Signed on the bottom right of the piece.
Work made for the collection Dark Room.

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena

From simple titillation to hardcore representations, erotic have a long history of incorporating scandal, fantasy, provocation and fun in sex.
In recent years, the erotic theme has grown into a potent, dynamic and, sometimes, subversive form of art, worthy of academic investigation. Sexual encounters, acts and characters that cannot exist on reality and are constrained only by the illustrator’s imagination. For some, even the creation of erotic work is an experience sexually charged, particularly if the sexual fantasy is in some way inaccessible on reality. As Tom from Finland famously said, “If I don’t have an erection when I’m doing a drawing, I know it’s no good.” Whether mass-produced or created as individual works of art, erotic images are a reflection of society and unabashed sexual fantasy, where every sexual act ever performed or imagined exists.
Museum of Sex (New York)

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