Menu

Given Time
Marina G. Guerreiro
7th October – 18th December 2021

London

Slide image

Decapitar al caimán
Lorena Ancona
10th September – 20th November 2021

Madrid

Slide image

Antes todo esto era campo
Adrián Balseca, Paz Encina, Alberto Martín Menacho,
Julieta Gil & Sofía Acosta, Inês Lima and Francis Alÿs
10th September – 20th November 2021
Screening program curated by Lejos lejos

Madrid

Slide image

Latent Longing
Nora Aurrekoetxea, Jack O’Brien and Alfredo Rodríguez
6th July – 24th July 2021
Off-site location
9 French Place E1 6JB

London

Slide image
Slide image

Installation view

Theo Christelis

Slide image

Marina G. Guerreiro
Calendario, 2021 Paper, porcelain,

magnets, marker board

and marker pens
40 x 34cm

Slide image

Installation view

Slide image

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Marina G. Guerreiro
Gracias, 2017
Plastic, coins and wax
20 x 15 x 6 cm

Slide image

Detail of:

Mesa, 2021
Plastic, wood, ceramic, paper,

cardboard, stickers, thread, wire,

chocolate, aluminium, pasta, beads,

jewelry boxes, stones, pens, wax, thea,

water, brush, cotton, acrylic paint.

Variable measures

Slide image

Installation view

Slide image

Detail of:

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Installation view

Slide image

Detail of:

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Detail of:

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Marina G. Guerreiro
0, 2021
Wax
42 x 21 x 34 cm

Slide image

Detail of:

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Detail of:

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Detail of:

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Detail of:

Mesa, 2021
Plastic, wood, ceramic,
paper, cardboard,
stickers, thread, wire,
chocolate, aluminium,
pasta, beads, jewelry
boxes, stones, pens,
wax, thea, water,
brush, cotton, acrylic
paint.
Variable measures

Slide image

Installation view

Next
Previous

Given Time
Marina G. Guerreiro
7th October – 18th December 2021

Intersticio is very pleased to present Given Time, Marina G. Guerreiro first solo exhibition with the gallery and in the UK. Thanks to the generous support of the Cultural Office of the Embassy of Spain in London.

Marina González Guerreiro (A Guarda, Spain, 1992) explores her practice through an installative approximation to different mediums like sculpture, video, photography or painting, the artist revises te iconographic imaginary around the idea of happiness, putting special attention to the phenomenons related with the emotions and the management of stress as well as the construction of an idealized nature. Her creative process starts with the accumulation of materials, becoming the studio a space for trial, where objects and images from the most diverse origins live together stating a ritual of the intimate. In her work we sense a preciosity constructed through precarious and old materials, as well as the research of equilibrium between order and disorder, control and chance, reason and emotion.

The artist is graduated in Fine Arts by the University of Salamanca (Spain) and has also a Master in Artistic Production by the Universitat Politècnica of Valencia (Spain). Some of her most recent solo shows include: Una Promesa at Galería Rosa Santos (Valencia, Spain, 2020), LMXJVSD at Pols (Valencia, Spain, 2020), Work Hard, Dream Big (Internet Moon Gallery, 2019), Luchar, creer at Galería Adora Calvo (Salamanca, Spain, 2018). She has taken part group shows like Lifting Belly at Centro centro (Madrid, Spain, 2020), Una imagen que no duela ni cueste mirar at Sala de arte joven (Madrid, Spain, 2019), Un gesto que permanece at Salón (Madrid, Spain 2019), PAM!PAM!17 at IVAM (Valencia, Spain, 2017). In the next months she will have solo shows at ‘Bungalow’ a project part of Chertluedde gallery in Berlin (Germany) and La Casa Encendida (Madrid, Spain).

 

Related Text by Raúl Lorenzo Pérez + Artist Bio (PDF)

Marina G. Guerreiro's CV (PDF)

Exhibition's Press (PDF)

Slide image

Installation view

Pablo Gómez-Ogando

Slide image

Installation view

Slide image

Installation view

Slide image

Lorena Ancona,

Agua clara, 2021
Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Bobtun, 2019
Low temperature ceramic,

pigments, water and fabric
73 x 13 x 7 cm

Slide image

Lorena Ancona,

Laguna, 2021
Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Serpientes como agua

boca y flor, 2021,

Dyed cotton fabric,

pigments and inks

Variable measurements

Slide image

Lorena Ancona,

Kawil / Dios del trueno, 2021

Stucco and hollow frame

47 x 37 cm

Slide image

Lorena Ancona,

Flor, 2021

Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Garza, 2021

Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Pez de jade, 2021

Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Escamas y flor, 2021

Dyed cotton fabric,

pigments and inks

Variable measurements

Slide image

Lorena Ancona,

Noche, 2021

Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Hojas y serpientes, 2021

Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Orquídea y pez, 2021

Jute rope pendant sculpture

and high temperature

ceramics with glazes

Variable measurements

Slide image

Lorena Ancona,

Máscara con serpientes, 2021

Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Touch of a palm, 2019

Low temperature ceramics,

pigments, lime bath

and wall paint

175 x 39 x 17 cm

 

Slide image

Lorena Ancona,

Caimán y flor, 2021

Monotype printing

on cotton paper
and oil inks
40 x 60 cm

Slide image

Lorena Ancona,

Cola de caimán, 2021

Jute yarn and high

temperature ceramic beads

Variable measurements

Slide image

Lorena Ancona,

Heron dance with 

jaguar skin, 2019

Low temperature ceramics,

pigments, lime bath

and wall paint

73 x 13 x 7 cm

Next
Previous

Decapitar al caimán
Lorena Ancona
10th September – 20th November 2021

Intersticio is pleased to present Decapitar al caimán the first solo show exhibition in Europa by artist Lorena Ancona (MX, 1981). For this occasion, the artist presents old and new pieces, researching the ethnology of the materials as well as its relationship with the historic process and the memory, traversing the personal and the collective.

Jaws of the abyss as access to a cave, in America the caiman is an animal associated with the land. Is in this relation between interior, ground and water that his presence represents fertility, as well as respect and veneration for nature and territory.

To ‘Decapitate the cayman’ refers to the Mayan Myth of renovation and creation of the world, related to the idea of inundation where the image of the cayman is used. It emerges as a mythic creature symbolizing the Earth and, when it is decapitated, blood spreads up from its head, or rain, or esencial liquid for the creation of a regenerating world.

The cayman’s capacity to move both in water and land, surrounds esencial ideas of landscape and makes it the guardian of the precious water, relating its figure to agriculture and particularly corn. This seed has been venerated because of its development during prehispanic times as the fundamental source that originated and nurtured the American civilizations, giving the possibility for thousands of years of dominating a complex territory in its wild nature.

Starting from an exploration of local materials, prehispanic traditions and symbology related to the south-east of Mexico, the artist takes as a reference passages from the Codex of Madrid and the Codex of Dresde. Both testimonies have been the very few to survive the conquest, most of them having been burnt on the ‘Auto de fe de Maní’, when Fray Diego de Landa incinerated several sacred objects and hundreds of Mayan codexes.

At the vortex of an era when nature it’s approaching its limit of imminent wear, to ‘decapite the caiman’ seems like the fundamental ritual of detachment and regeneration.

Lorena Ancona (MX, 1981) works with sculpture and ceramics, weaving through the historiography of dyes, pigments, natural materials and Mesoamerican places. His work is the result of a research-based practice that questions the intangible displacements of forgotten traditions, heritage and identities. Using speculative techniques as an artistic methodology, her work is focused in the analysis and identification of mineral and ethnic biocultural environments. Ancona has studied at the École Nationale Supérieure des Arts Décoratifs in Paris and at Escuela Nacional de Pintura Escultura y Grabado La Esmeralda. Recently, she has participated in group shows at the Palais de Tokyo in Paris or the Carreras Múgica gallery in Bilbao. This September she will take part on a symposium at the British Museum in London that will discuss the Mayan blue and its cultural and historical value.

 

Lorena Ancona's CV (PDF)

Exhibition's Press (PDF)

Slide image

Paz Encina

El aroma del viento, 2019
Paraguay, Film Super 8
21 min

Photography: Pablo Gómez-Ogando

Slide image

Installation view

Slide image

Alberto Martín Menacho
Mi amado, las montañas, 2017
Switzerland – Spain
24 min

Slide image

Adrián Balseca
The Skin of Labour, 2016
Ecuador, 16 mm
10 min

Slide image

Still of:

Julieta Gil in colaboration
with Sofía Acosta

Flora, 2021

Mexico, digital simulation

2:46 min

Slide image

Still of:

Francis Alÿs in colaboration
with Rafael Ortega

El Gringo, 2003

Mexico, digital

4:37 min

Slide image

Still of:

Inês Lima

Coral I, 2021

Portugal, 16 mm

7:53 min

Slide image

Still of:

Alberto Martín Menacho
Mi amado, las montañas, 2017
Switzerland – Spain
24 min

Slide image

Still of:

Paz Encina

El aroma del viento, 2019
Paraguay, Film Super 8
21 min

 

Next
Previous

Antes todo esto era campo
Adrián Balseca, Paz Encina, Alberto Martín Menacho,
Julieta Gil & Sofía Acosta, Inês Lima and Francis Alÿs
10th September – 20th November 2021
Screening program curated by Lejos lejos

Intersticio is pleased to present Antes todo esto era campo a series of screenings programmed by the independent producer Lejos lejos. The cycle begins with Scene I. Verás un árbol a mitad del camino, including the works of Adrián Balseca, Paz Encina and Alberto Martín Menacho. It continues with Scene II. Dios es mi amigo este barrio es mi novio, with works by Julieta Gil & Sofia Acosta, Inês Lima and Francis Alÿs.

Antes todo esto era campo is an audiovisual program composed of two scenes in which there are different ways of relating to the environment both rural and urban through memory. The first scene occurred between 10th September and 17th October; the second, between 28th October and 20th November, both in the lower room of Intersticio.

The works presented in the cycle allow us to experience other people’s memories, making them our own, thus opening up possibilities for understanding others. The memory is encrypted in the environment: trees and rivers contain childhood memories, mountains and holm oaks tell legends and dogs keep ancestral fears.

The agency and plant sensitivity were present in the three films that coexisted in the first scene of the cycle: Verás un árbol a mitad del camino. To these memories, in the second scene, Dios es mi amigo este barrio es mi novio, they add the domestic space and the city as scenarios for resistance to the idea of a unique way to observe and live them.

Andrea Celda and Elisa Celda
Lejos lejos

 

Related Text for Scene I + Artists Bios (PDF)

Related Text for Scene II + Artists Bios (PDF)

Exhibition's Press (PDF)

Slide image

Installation view

Slide image

Alfredo Rodríguez
NGC, 2021
Silver gelatin on RC paper,
resin and hard coat
47 x 35 cm

 

Alfredo Rodríguez
NGC, 2021
Silver gelatin on RC paper,
resin and hard coat
47 x 35 cm

 

Alfredo Rodríguez
NGC, 2021
Silver gelatin on RC paper,
resin and hard coat
47 x 35 cm

 

Slide image

Installation view

Slide image

Installation view

Slide image

Installation view

Slide image

Installation view

Slide image

Installation view

Slide image

Installation view

Slide image

Nora Aurrekoetxea
Makila 2, 2021
Wrought iron
185 x 6 x 42 cm

 

Jack O’Brien
rib touches, 2019
Silicone, pigment,
aluminium
Dimensions variable

Slide image

Detail of:

Jack O’Brien
Come down, and around, 2018
Silicone, mortar, horsehair
braid, leather, aluminium,
cable ties
Dimensions variable

Slide image

Detail of:

Jack O’Brien
Drill Sequence III
(Lethargy), 2020
Magazines, rubber, dried
flowers, silicone, steel, cloth
35 x 25 x 40 cm

Next
Previous

Latent Longing
Nora Aurrekoetxea, Jack O’Brien and Alfredo Rodríguez
6th July – 24th July 2021
Off-site location
9 French Place E1 6JB

The exhibition is now open by appointment only. Please contact london@interstic.io if you would like to visit.

SUPER Preview and Intersticio, in collaboration with Valeria Biamonti, are delighted to present Latent Longing, an exhibition featuring works by Nora Aurrekoetxea, Jack O’Brien and Alfredo Rodríguez.

Entirely subtle yet startlingly emotive. Humble materials and abstract lines do anything but alienate; the exhibition is striving and succeeding, beautifully seductive. Of a personal, sometimes tortured, but truly sober kind, Nora Aurrekoetxea’s iron Makila sticks reach, reinforce, and thrust. Distorting, warping, and scratching into a formal exploration between structure and ornament. The intimate and impassioned calm of Alfredo Rodríguez’s work is visible in the crystalised ephemeral glances that hang around bodies in spacetime. And the intensely curious and vulnerable work of Jack O’Brien, whose materials are deployed with a poignancy and wit, is charged with the erotic. Gentle inspections of notions like shame and taboo. There is something latent—in the truest sense—manifesting here. Aurrekoetxea navigates and exploits the tension between the cultural embedded sphere and materiality. With O’Brien’s rubber, silicon and curls of dried flowers, there is no soppy veneration of marginalized materials. Instead, there is a kind of magnanimity towards them. Rodríguez’s devotion to the photographic process per sé leads to a unique engagement with the medium. Almost as a rejection of the transient inadequacies of the digital. No apathy is to be found in the deftly and honestly explored ambiguities of the abstract and yet concrete yearning behind these works. Aurrekoetxea, O’Brien, Rodríguez: three artists differently and diligently forging away at the overt tangibility of the abstract, reaching out to something present yet invisible. The works are positively earnest, and they extend an invitation to come closer, to touch with our eyes.

Valeria Biamonti

 

Press Release + Artists Bios (PDF)

Floor Plan (PDF)