Installation view of Francesc Torres, “La Campana hermética. Espacio para una antropología intransferible (The Hermetic Bell. Space for a Non-transferable Anthropology” (2018), set up, dimensions variable (picture courtesy the Center for Galician Contemporary Art; picture by Mark Ritchie)

SANTIAGO DE COMPOSTELA, Spain — Part of the first era of artists to critique the legacy of the Spanish civil struggle, Francesc Torres has lengthy investigated the reminiscence and detritus of violence. His exhibition in Galicia, which samples 5 a long time of his inventive manufacturing, frames these considerations by means of the native follow of amassing “crebas,” or objects washed in by the tide. Mixed media drawings and assemblages applicable army tools that may really feel heavy-handed if not for its quotidian use. Installations immerse the viewer in the ambiguous reconstruction of historical past.

“The Hermetic Bell. A Space for a Non-transferable Anthropology (La campana hermética. Espacio para una antropología intransferible)” (2018) bears witness to the previous century’s wars and revolutions by means of a lifetime of the artist’s possessions, accompanied by documentary footage. A dizzying array of objects on partitions and cabinets — from flashy American automotive magazines to olive pits carved by political prisoners in 1940’s Barcelona, together with the artist’s grandfather — map a grim narrative of modernization. Children’s toy battalions age into the battered armaments of Spanish civil struggle troopers. The previous itself is topic to political weaponization, and reminiscence calls for not the storage of objects, however the viewer’s interplay with them.

SANTIAGO DE COMPOSTELA, Spain — Part of the first era of artists to critique the legacy of the Spanish civil struggle, Francesc Torres has lengthy investigated the reminiscence and detritus of violence. His exhibition in Galicia, which samples 5 a long time of his inventive manufacturing, frames these considerations by means of the native follow of amassing “crebas,” or objects washed in by the tide. Mixed media drawings and assemblages applicable army tools that may really feel heavy-handed if not for its quotidian use. Installations immerse the viewer in the ambiguous reconstruction of historical past.
Installation view of Francesc Torres, “Feminicidios por arte impuesto” (Femicides interposed by artwork) (2018), set up of work of various artists from the assortment of the National Art Museum of Catalunya, knife from the second half of the twentieth century, X-ray of the restoration of the portray “Venus and the dove” (1867) by Juan Cordero Hoyos, photographic copy of The Rokeby Venus by Diego Velázquez, exhibiting injury, photographic copy of works by Lucio Fontana, dimensions variable (picture by Paco Rocha)

“Femicides: Interposed by Art (Feminicidios: por arte interpuesto)” (2018) recovers work of feminine nudes from storage at the Barcelona Museum of Modern Art that had been vandalized the night time of the 1952 Eucharistic Congress, amid mounting state repression. The bandaged, gashed, or subtly restored surfaces tackle flesh, recalling lives misplaced to femicide. Yet these most susceptible — Black, trans — stay omitted by historic emphasis on white feminine nudes. Other images nod to artist Lucio Fontana’s conceptual incisions and “The Rokeby Venus” by Diego Velázquez, which was destroyed in protest by the suffragist Mary Richardson in 1914. Such juxtapositions query the politics of aestheticizing violence.

Torres’s current works in Galicia meditate on nature’s scars. A photographic collection compares an deserted whalery in Gures with wolfram mines in Casaio, as soon as essential for arms manufacturing. One wonders whether or not such photos summary us from destruction or critique the programs that destroy. Today machines file violence with precision, however remembering stays messy human handiwork, particularly amidst present collective scales of loss. “Sofía and The Abyss (Sofía y el abismo),” (2019) paperwork a efficiency during which Torres tosses sixty books into the sea. The few that floor a day later he retrieved for show. Yet the work pulses most after I think about him, as the label briefly mentions, looking the coasts for miles.

SANTIAGO DE COMPOSTELA, Spain — Part of the first era of artists to critique the legacy of the Spanish civil struggle, Francesc Torres has lengthy investigated the reminiscence and detritus of violence. His exhibition in Galicia, which samples 5 a long time of his inventive manufacturing, frames these considerations by means of the native follow of amassing “crebas,” or objects washed in by the tide. Mixed media drawings and assemblages applicable army tools that may really feel heavy-handed if not for its quotidian use. Installations immerse the viewer in the ambiguous reconstruction of historical past.
Installation view of Francesc Torres, “Sofía y el abismo (Sofía and The Abyss)” (2019), digital colour images on paper, books. 20 objects: every, 67 x 100 cm and seven objects: every, 12.5 x 20 cm (picture by Paco Rocha)

Francesc Torres, Crebas, continues by means of January 10, 2021 at Galician Center for Contemporary Art (Rúa de Ramón del Valle-Inclán, 2, 15703 Santiago de Compostela, Spain). The exhibition was curated by Rocío Figueroa.