Ramon Gomez de la Serna wrote about the painter Maria Blanchard (Santander, 1881-Paris 1932): “It is not feminine, but manly evil […]”, chimerical and secret, necromantic, naive like the voice of a girl.” It was a way of defining it like any other. A way, however, that reflects with some precision the thinking of her time: anno Domini 1915. Then—as until very recently—it was a widespread idea that, if a woman showed signs of corrosive intelligence, something masculine must be lurking inside her. That’s why it was also advisable to infantilize it, lest anyone be alarmed by believing they were facing a public danger. That happened the first time that Blanchard exhibited in Spain. Now, from a very different perspective, the Picasso Museum of Malaga presents Maria Blanchard. Painter despite cubismmonograph dedicated to this artist born in 1881 into a family of the Cantabrian bourgeoisie, a friend of John Gray either Diego Riverawho after his time in Paris joined the Cubist vanguard and later devised his own universe of warm and elegant figuration, outside of time, which today could be taken for the work of some latest painter.
Eva Lootz. Alcalá Room 31. Madrid. From May 8 to July 21, 2024. The drawings of Eva Lootz They are one of the most interesting parts of his production, which will share space with his installations at Alcalá 31. And that is not all: in June his long-awaited exhibition will also arrive at the Reina Sofía museum.Rafael Trapiello
It is good news that Blanchard’s exhibition coincides with another dedicated to a contemporary artist, the Colombian Delcy Morelos (Tierralta, 1967), at the CAAC in Seville, curated by the center’s director, Jimena Blazquez. Because Morelos’ work is located at the opposite extreme of what Gómez de la Serna described: neither manly nor evil, neither necromantic nor chimerical, nor certainly naive or childish. Everything that Morelos enunciates with a firm voice has to do with the urgency of the here and now, because there are few issues as pressing as our relationship with the earth. Those who visited the last edition of the Venice Biennale will not have forgotten the installation she planted in the Arsenale, in which the earth rose from the ground in compact and fragrant blocks that one traversed as if in a labyrinth. Morelos will bring the land itself back into the museum, in a call to renew our lost ties. A message that will also be heard at the C3A in Córdoba, thanks to the collective Ecologies of peaceproject of the foundation of Francesca Thyssen-BornemiszaTBA21, which will bring together works by 40 artists, including Christina Lucas, Cristina Garrido either Vivian Suter. Meanwhile, in the Alcalá 31 room in Madrid, the Austrian-Spanish artist Eva Lootz (Vienna, 1940) presents If you still want to see something, which proposes a reunion between art and science that is not too far from Morelos’s proposals, despite their formal differences. In the installations and drawings that can be seen there, one of the most consistent and prestigious creators of our scene (National Prize for Plastic Arts in 1994) starts from vibration and light to develop her forceful speech. Language, matter and process will also be present, as always in Lootz.
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