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Romulo Royo

METAL PIEL VII

5 600 € 

Author Romulo Royo

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  • 578-P
  • In stock
153 x 123 x 7  cm
60.24 x 48.43 x 2.76''  inch

PAINTING

Transferred ink, acrylic with airbrush and oil on backlighted methacrylate.

Format of 153 x 123 cm (60.24 x 48.43 in)

Year of realization 2009.

Signed.

 

Made in 2008 for the Blackened Times exhibition and exhibited on XXV Bienal of Alejandria et Alejandria’s Museum.
The composition is bold. The technique used is innovative. Here Romulo uses translucent supports to give light to the painting from behind. The effects verge on three-dimensional and the character transports us to the future with the aid of her clothes. This work was exhibited at the On-Off collective exhibition at the Santa Monica Foundation in Barcelona. The galleries participating in the exhibition included ADN Galeria (Ulrich Vogl), Galeria Angels Barcelona (Peter Downsborough), MACBA Museum (Ángels Ribé), Galeria Joan Gaspar (Etienne Krähenbül), Galeria Marlborough (Pelayo Ortega), Galeria Trma (Javier Vázques), Kowasa Gallery (Juan Bufill), masArt Galeria (Joana Cera) and N2 Galeria (Rosó Cusó).
 
The Organizing Committee for the show: Anna Buscató (GGAC), Ana Mas (Abe), Laura Zubiaur (Art Catalunya), Miguel Ángel Sánchez (GIC) and Vicky Cortina (GGAC).
It is curious that the 18th century’s leading cultural movement should be called “la ilustración” and “la il-lustració” (“Illustration”) in Spanish and Catalan, while in English and French-speaking countries (truly illustrated cradles of culture) it is referred to as “Enlightenment” and “Lumières” (lights), respectively. The “ilustración” (Illustration) was assimilated by the “Siglo de las Luces” (Century of Lights), and this also caused an assimilation of its content: illuminating man, bringing him out of the dark ages, which was the movement’s true project, involves enlightening him, in other words instructing him and helping him to understand the world. In both senses, as both illumination and illustration, underlying the individual’s quest for emancipation there is the intention to develop a programme in which the education and training of people is of prime importance. In fact, illustrate and illuminate can have similar meanings, but illustrate also refers to the act of decorating or exemplifying a story or an idea, in principal, with pictures. Both senses of the word “illustration” are very closely bound to one other: an illustration of a text throws light on what is written, just as writing can cast light on a picture. The knot that binds them in any case is one of the bases of the Enlightenment’s project: knowledge.
Extract from the text, Prologue: To illuminate or to illustrate, by David G. Torres.

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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