Second anniversary of ‘The snow is dancing in the non-place’ at CAC Malaga
CATALOGUE FOR SALE IN THE NEW E-SHOP
It was the perfect excuse. We celebrate the second anniversary of ‘The snow is dancing in the non-place’ at CAC Malaga by launching Puche’s website e-shop. And the first product for sale isprecisely a new batch of catalogs in English and Spanish of that wonderful exhibition.
The voice of Antonio Banderas in Puche´s artwork
The Spanish actor Antonio Banderas wanted to get involved in some way at the opening of Puche´s exhibition and, through his social networks; he invited everyone to visit the artist’s solo showwith a voiceover video.
In addition, every 15 minutes he published an Instagram story in his profile with every single artwork from the exhibition, inviting his followers to tell him which works they liked the most and what they evoked them. It was an amazing experience.
Fue una experiencia maravillosa.
‘The snow is dancing in the non-place’ at CAC Malaga, a complete project
The Contemporary Art Center of Malaga presented ‘The snow is dancing in the non-place‘ by the end of May 2018. The exhibition was composed of twenty-nine artworks, most of themcreatedspecifically for the exhibition.
An exhibition in which, in Puche´s words, ‘drawing is the key to art, and the way in which what is drawn on paper is conceived as an event. An exhibition made blow by blow, drop by drop and work by work.’
The drawing is presented in a fluid and liquid way, with a clear organic intention, which, in Puche’s eyes, the artist can only aspire to create as nature itself does, with the right doses of control over its territory.
His works are born with ‘the spirit of being paintings because of their formal and conceptual work, but they finally cannot give up the essence of what they were created for, the drawing itself.’
Puche, picture hunter
Puche feels like ‘a hunter’ of images who is incessantly searching and searching, enjoying this part of the process more than the final capture.
It happens with the addition of blister packs in his works, since they usually have no color. However, he includes one in bright red in Gonosiana (2015). In it, like an extraterrestrial element behind a shop window, Puche exhibits it, being the only color note of the work.
In House of Cards (2015), several blisters, this time colorless, form a small structure that can fall down at any time, enlarged elements that appear on the left side of the Duluth meeting (2015), an artwork with clear nuances of film noir.
The ‘non-places’ are those spaces that did not exist in the past, but that now appear as undeniable locations for the contemporary man. As it can be seen in Full stars (2017), which was the first work in which Puche painted a carpet, becoming an essential element in many of the artist’s artworks, drawings or paintings are the perfect places to experience sensations that you may have not experienced in life.
This resource also appears in the disturbing Pavana for a Flight (2018), in which an apparent ray of light seems to dominate a carpet in full flight or in Köchel for Claude (2018), where a musician plays an electric guitar in a discerning way on the edge of his armchair.
On the other hand, Sabali (2016) invites to a more peaceful contemplation. It portrays the moment of a boy coming out of the water in an environment of vegetation. This artwork was an important step for the artist, from the purest drawing to the discovery that water could completely transform and disfigure his drawing.
In another enigmatic work, Invincible (2018), of more than two meters long, a monumental figure of a woman dressed in blue puts her hand on a hat, trying to levitate it. Encouraged to win (2018) and Anyway, anywhere (2016) represent the idea of triumph. A man and a woman discreetly carry an eagle on their backs as a‘warbonnet’ —Indians tied the feathers of eagles and hawks as they went through the war and showing them was a symbol of victory, a symbol of struggle, survival and victory.