Fúcares Gallery is proud to present the first individual exhibition in Almagro by the artist Javier Ayarza (Palencia, 1961).
In Javier Ayarza’s career as an artist there is an element that provides the different series that he has presented in recent years with continuity, and this element is his interest for territory and traces. It could be said that his is a work about “marks”.
Javier Ayarza’s artistic practice has its roots in the painstaking reading of works about territory, which has constituted one of the backbones of the history of photography in recent decades. Precisely in the updating of that topographic searching is where his proposal is placed.
With “The Numbered Days”, Javier Ayarza (Palencia, 1961) finishes the series started in 2002 under the title La Siesta del Fauno [The Faun’s Siesta], a work that develops itself around a territory scarcely recorded, a geography scarcely inhabited, limited economic activity, scarce traces of modernization (acculturation?), and in which an initiative of a strikingly individual nature prevails, which hardly fits into any dynamics of planning or homogenisation.
The traces that are to be found in these images are those of a timeless space, a basic and unfinished urban planning, in which man’s presence, physically absent, takes shape through the artist’s traces and interventions.
However, the “topographic” updating proposed by Ayarza does not just develop an exploration of a territory “unrecorded” so far but it does so from an autonomous creative strategy that does not imitate models, since in this work the objectivity of the whole current derived from the German school (coldness, distance, absence of emotiveness), mixes with an approach seeking to construct an “experience of territory” whose base stresses the presence of marks and traces that speak about activity, life and dreams, if not paralyzed, at least absent.
Women of Power consists of 29 color photographs depicting Polish witches, healers, sorceresses, visionaries, spiritual leaders and shamanic techniques practitioners.
According to what Ewelina Jarosz wrote about Women of Power : "The title points to Katarzyna Majak's intenti...
C’est à une invitation à la sérénité et à un retour sur soi que nous propose Yves Marcellin dans cette exposition inédite, installation photographique consacrée aux cinq remémorations du Bouddha.
Empreint des écrits du vénérable moine bouddhiste Thich Nhat Hanh, et plus particulièrement sensi...
With "The Family of Dog", Michael Ruetz has created, over the last 50 years, a unique body of photographic work. Superficially, these images might appear to pay tribute to the established forms of animal photography. But a second, more focused view shows that the reverse is true. Ruetz' pictures are as far removed from those of the animal specialist...
Failed States is an exploration of coincidence and poetics amid the barriers and bureaucracy of governmental power.
In January 2010, while on a trip to research the history of snipers in Austin, Texas, Magid witnessed a mysterious shooting on the steps of the State Capitol. After attempting to speak with a state empl...
Une Ford Pick-up, une Pan/Shovel 66, une Custom 2004 (Jeffrey), une Triumph 69 (Vince), une El Camino 64, une Bel Air 65 (peinte par Vince), une Duo Glide 62, une Comet (qui appartenait à Steve Mc Queen), une Special Construction 2000 (toutes, OM), une Harley 1969, une Dyna 2003 (Wes),une Pan 59, une Pan 62, une Pan 65 (John Copeland), une Sportster 68 (Dr...
Le conte photographique l’Emouvantail, se veut être « l’Echo » d’une histoire d’amour entre un épouvantail etune jeune femme, la Dame de l’O qui pourrait être celle de chacun d’entre nous… Mais pas seulement…
Créée par le Musée de l’Elysée à Lausanne, l’exposition Hans Steiner Chronique de la vie moderne a été présentée à la Fotostiftung de Winterthour, à la Médiathèque Valais-Martigny et au Museo Villa dei Cedri de Bellinzona.
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