Halfway through the wood it represents what we can consider the first exhibition commissioned by its director, Blanca de la Torre, at the IVAM, from which some of the assumptions that your investigation deals with emerge. El interes por questions on the sidelines of the great aspects of artas well as applications artisanal processes and natural materials Recommended, as well as the observation of the rural environment and its relationship with nature, as well as the processes of collective work, are the stimuli that accompany this exhibition. For this reason, it is practiced using ceramics and textiles, in the hands of twenty artists with very different approaches, who propose a different approach to artistic creation.
Anyway, bye ceramics and textiles They are often more common in museums and galleries, and in the seventeenth and seventeenth years—even in the vanguard—many of them were used to clarify the division between high art and low art, and especially among women, to mark their place in the artistic sphere, sometimes not to exclude it.
Yes renewed interest in artesanal may respond to the hartazgo of the digital image. Art before ubiquity requires a physical and direct experience with viewers, especially outside the windows. However, the rise of textiles and ceramics is likely to turn into a fashion phenomenon, so it would be necessary for institutions to address this issue in order to separate the grain of the world.
Name Halfway through the wood I offer you a clue where the shots come from when the same word “lumbre” when not used refers to rural contexts and evoke the poetry of home and time, other, in tension. Around this metaphor I run explained words, listening to different voices and narratives, wrapped in an unexpected montage that tries to create an intimate and humble environment, a warm and gentle environment where there is no room for excitement.
When entering the exhibition, two large works where glass jumps into view. Guapa (2015), de Pilar Albarracín, e Hilera de traiciones (2025), Ana Laura Aláez, talks about what will come and what will culminate, further inside, in an impressive installation Cardinal directions (2025), Jessica Stockholder; works that indicate in a very expressive form the tones that modulate the exposition, from the excess of the minimum to the limitation of the greatest.
Sonia Navarro: ‘Espartaria V’, 2024. Photo: IVAM
In Albarracín’s piece, the “good” palabra, bordered by flowers on a white cloth, like a paper bag, contains manila coat expression to celebrate the adornment of a woman, before vejatorio pyrope; exuberant statement of intent today.
Junto and ella, Ana Laura Aláez return modestly esparto tejer para trenzare cuerdas which emerges from the techo and turns towards it to give the body to a kind of giant hammock, turned on it, where the release of any tension in space is renewed. And then, through the work of Ana Esteve Llorens, interwoven with natural materials, it connects to the core of the exhibition, where text and ceramics combine with many craft practices.
Highlight interesting work Big size Txapela (2022) by Laurita Siles, in which the round shape is abriga al relato pastoralil y su arraigo en clave identitaria. The expanded roundness of the boin, woven from egg wool in search of extinction, envelops an extravagant combination of memory, culture and territory; something common in other used parts. On the other hand, an olfactory note Fall (2019), de Julie C. Fortier, consistent en un the monumental collar, composed of pieces of ceramics and glass, puts the body and senses in a relationship with all refinement.
En tanto, pieza Form memory (2022), by Antonio Fernández Alvira, a lo bruto, it transfers the function of anchors, glasses and stems, supported by metal structures where the barrel is if it looks like scraps of meat. On the other hand, the cobra pottery by Sarah Viguer shines in the work, which reveals the metamorphic possibilities of the fragment in the so-called biomorphic structures.
Mónica Jover: ‘Espacio hilado en verde’, 2015. Photo: IVAM
Ceramics, asymism, is the focus of a very interesting work by Concho Ybarra, Green (2017-2022), composed of new pieces of wood, engobe, enamel and glass. Expuestas in bodegón manner, these pieces can touch the touch until they touch the flower of the skin, when, through ornament, the function of the object changes and they turn into shadowy figures that abandon the desire to touch.
And we go from cooking to cooking and cooking again Alenad (2025), Isabel Servera, where costumes are manipulated, the use and functions of the material, the palm, here ennoblecido. So proceed in the last room to the beloved installation Tejiendo stories of survival (2023), by Josefina Guilisasti, from where, colgada del techo, the shadow of various mariposas, tejidas with hair, come all together to demonstrate their inevitable migratory nature.
Y with everything everywhere, acabas queriendo ver máswhen I move from one place to another, I follow the simple idea of placing the pieces on the tip of my hand so that I can see them more easily and quickly. In this way, manual and artisanal, humble and simple, it progresses slowly, without noise.
But, oh, because these interesting questions, connected with the exploration of rural and traditional, they could find some romance; But that doesn’t seem to be the purpose of this museum, if we stick to the interesting texts in the catalog. The exhibition will continue its itinerary with a procession and post in Casal Solleric and Es Baluard in Mallorca, in the CDAN in Huesca and in the Museu Terra, in L’Espluga de Francolí (Tarragona).
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