Opening: SAN "Posesiones de Ultramar" @ Delimbo, Sevilla, SpainJuxtapoz // Monday, 29 Oct 2012
One of our favorite contemporary Spanish artists, Daniel Munoz, aka SAN, opened a new exhibition at Delimbo Gallery in Sevilla, Spain titled, Posesiones de Ultramar. The show consists of a series of recent works, that directly tackle the problematic and the collateral experiences derived from the mural practice developed over the last few years.
Here is the press release:
Under the title “Posesiones de Ultramar” Daniel Muñoz, also known as “San”, presents his new project at the Delimbo Art Gallery as it opens its new season.
The show consists of a series of recent works, that directly tackle the problematic and the collateral experiences derived from the mural practice developed over the last few years. Far from presenting us with a solution to the complexity of this topic, the artist provides the platform for critical debate. Muñoz has a restless and intimate point of view that continuously renews and reforms itself.
Through certain established parameters such as landscape, collective imagery, the visual field, memory, certain questions are established between the artist his work and the multiple social and physical context in which they are generated.
All artists act and operate in a predefined social and cultural framework. In the case of the so called “urban artist”, such ties have to be obviated and heroic roles have to be assumed, so that the artistic production of such qualities such as ownership or the aesthetics of the subversive always confronted through a business perspective based on new age marketing strategies.
These attitudes trigger the analysis that Muñoz throws at us. Inspired by his own conflicts and experiences, friction arises from the cultural and public framework of our time. The works that make up this exhibit formalise themselves though an archive that canalises lived experiences. We are dealing with a series of devices which highlight the temporary of the artistic practice and formalization.
Using drawing as language, the value of the public and the subjective as products of negotiation is presented. In works such as “39 deseos” (39 wishes)and “Marron Fluorescente” (fluorescent brown) we want to appreciate the artist’s concern for the adjacent, what does not matter. These works are a compilation drawing of places that for different reasons the artist could not physically appropriate. They attempt to dignify a negative situation by creating a possible version of the attempted work.