Espacio Nuca celebrates its ten years of activity with the exhibition Inherent Nature ✔️


Agustin Cerisuelo, Arturo Donate, Julio Saramian, Lucia Moya, María Acuyo, Rebecca Plana and Ruth Moran are the famous artists selected by Nacho Tomás with texts by Juan Feliu.

The exhibition is a project of the contemporary art fair Marte in collaboration with Espacio Nuca and can be visited until November 18 during the opening hours of the gallery.

In nature, everything is calculated. Everything happens for a reason and everything is used. It is an excellent role model in all aspects of our lives, there are millions of years ahead of us.

Humans and also artists (who are also human) have learned by observing and using nature, so when we see something working effectively in nature, we tend to copy it.

Nature has always been a guide and a major source of inspiration throughout history. The works shown here originate from natural inspiration, however different they may appear. Some offer a nostalgic look, such as the works of Agustin Cerisuelo; others are utopian notions such as those of Mary Acuyo or Julio Saramian; most, if not all, are imaginary, like those of Lucia Moya or Ruth Moran; and there are also abstract ones, such as those of Arturo Dari or Flat vest. Although in reality they all participate to a lesser or greater extent in the various categories in which the exhibition is spread. According to the natural sciences, nature is nothing more than the universe together with the laws that govern it. From this point of view everything, absolutely everything is natural. Even the cell phone follows the rules of the universe.

There are works of art, such as those of Agustín Cerisuelo, that seem particularly nostalgic to us. Landscapes with a history, often terrible, warlike, where nature, no matter how little space and time is left to it, always recovers and gains prominence. Pieces that are conducive to making small praises of the past, to emphasize the need we have, sometimes, to look back to see where we came from and the path we should choose; art of being aware of how time passes and how all things around us change or evolve. From Homer to Cavafy, from Sappho to Pasolini, the human being is a nostalgic animal, it cannot live in the present, it does so between the expected anticipation of the future (as Kant said) and the nostalgia for the origin (as Mircea Eliade explained). Nostalgia adapts to what was, it refers to the past, although Borges, who wrote a poem about nostalgia for the present, in which desire struggles with reality in a hint that he has not lived long enough, that there is no trace of what is happening seems to be over before it is fully realized. But a more intimate and cosmic reflection is offered in this exhibition; it’s more than Proust’s In Search of Lost Time, and it’s more about that sense of temporal distance, the desire to remember to relive, because the past doesn’t come back, and that’s okay. The bad thing is to forget it, to deny it.

In social terms, the presence of utopia in our minds does not cease to be a criticism of an experienced, past, disputed situation. And sometimes it becomes universal. Thomas More’s secret desire: to place one reality before another unaccepted reality. In Maria Acuyo’s paintings, with their dreamlike landscape references, the intuition of this other place, of the place as things should be or as we wish them to be, manifests itself as possible only through the imaginary.
In other words, the utopias with which we look at nature are a manifestation of energy that channels possibilities into the symbolic order through individual will that often becomes collective will. This is the energy of the dreamer, of the revolutionary, but it is also implicitly present in our daily behavior.

The perception of nature, like fictional stories, is in any case a construction, as Ruth Moran’s work shows. His intricate linear patterns, his densely layered tectonic constructions that gravitate over empty space, are exemplary. We invent when we describe nature,
how can we not imagine by recreating it artistically. Depending on the mood and state of mind, depending on the time that has passed, we construct one and a thousand versions of the natural; we turn into history what is for some reason inexplicable to us.

The creation of works of art is not a synonym or an effect only of imitating nature, which also; creation can be produced through the relationship between geometry and color, as in the works of Arturo Donate. Beyond what nature can mean to us, art can be a means to integrate into it. Today’s artist, by not copying nature, creates it (similarly said the artist Manuel de la Cruz González).

Contemplating Doñate’s work requires a firm belief in the function of geometric abstract art as a close connection between the viewer and the concept of nature. The search for pictorial solutions offered by the exhibition seems at first glance and in a broad and practical plan to be an achievement of what Kandinsky offers in his work Point and Line on the Plane, that is, although it is without taking into account its scientific value, which depends on close examination, the analysis of artistic elements is a bridge to the inner pulsation of the work of art. The prevailing claim to this day, that the decomposition of art would be fatal, since this decomposition would inevitably lead to its death, arises from an ignorant underestimation of the value of the analyzed elements and their primary powers.

Inherent Nature is a multifaceted journey through art that takes nature as a reference, through the many suggestions of the world around us. Ben deserves to stop, if only for a moment, to enjoy and in the process think a little about the reason for our own existence.

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