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Installation view

Photography: Pablo Gómez-Ogando

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Diego Delas
Sol Invictus (Broken Map), 2019
Inks, acrylic oil and gouache,
sandpaper and steel on paper and wood
161,5 x 147 x 4 cm.

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Installation view

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Julia Creuheras

Fuente de Talismanes, 2020

Galium, tin, gypsum, motor and chip
70 x 40 cm

 

Nora Aurrekoetxea

_Chain_, 2020

Galvanised metal chains

51 x 5 x 4 cm

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Installation view

 

Lucía Bayón

Leveler (II), 2021
Jesmonite, colophony

resin, black fish resin

74 x 40 x 34 cm

 

Josefina Anjou

Portrait by the window, 2020

Oil on canvas

62 x 42 cm

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Josefina Anjou

Portrait by the window, 2020

Oil on canvas

62 x 42 cm

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Lucía Bayón

Leveler (II), 2021
Jesmonite, colophony

resin, black fish resin

74 x 40 x 34 cm

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Johanna Odersky

Time Keeper IV, 2020

Watercolor on paper,

thermoplastic, silk paper, steel

40 x 60 cm

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Lucía Bayón

Tempered I, 2020

Concrete on board, epoxy

clay, charcoal, vegetable

resins, shellac, forged steel

30 x 60 x 3 cm

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Maren Karlson

Viriditas II, 2020

Pencil on canvas

48,2 x 35,5 cm

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Maren Karlson
Moth’s Wing, 2020
Pencil on canvas
48,2 x 18,4 cm

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Maren Karlson
Pupa’s Path, 2020
Pencil on canvas
48,2 x 35,5 cm

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Maren Karlson
Leaf Song, 2020
Pencil on canvas
18,4 x 24,1 cm

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Installation view

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Lucía Bayón

Stubborn, 2020

Paper pulp, wood glue,

our, natural sienna,

roasted sienna, black fish,

shellac, cotton, forged steel

60 x 20,5 x 120 cm

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Isabella Benshimol

Salmonella Superbugs, 2019

Water clear polyester

resin, release agent, 18k

gold baby teeth, t-shirt

120 x 80 x 35 cm

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Josefina Anjou

Cloudpainting 1, 2020

Oil on canvas, dry wood,

tinted oak, bandaid

44,5 x 49 cm

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Josefina Anjou

Cloudpainting 2, 2020

Oil on canvas, dry wood,

tinted oak, bandaid

44,5 x 49 cm

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Nora Aurrekoetxea

_Chain_, 2020

Galvanised metal chains

51 x 5 x 4 cm

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Nora Aurrekoetxea

_Plate, 2020

Four plaster discs and

jesmonite pigments

Variable measurements

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Andrés Izquierdo

Departure (table)

Wood, polystrene, steel,

paraffin, candle mesh,

synthetic varnish

150 x 150 x 115cm

 

Permanence (chair)

Replica of Starck’s

“Masters” chair, paraffin,

synthetic varnish

80 x 45 x 45cm

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Paul Maheke

OOLOI, 2019

Mixed media installation:

curtains, laser projection,

wall paint, oxidised copper

and brass spheres, digital

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Paul Maheke

OOLOI, 2019

Mixed media installation:

curtains, laser projection,

wall paint, oxidised copper

and brass spheres, digital

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Paul Maheke

OOLOI, 2019

Mixed media installation:

curtains, laser projection,

wall paint, oxidised copper

and brass spheres, digital

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Paul Maheke
Mago Sessar, 2018
HD video (12 min)

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Lucía Bayón
Tempered II, 2020
Concrete on board,
epoxy clay, charcoal,
vegetable resins, shellac,
forged steel
40 x 60 x 3 cm

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Diego Delas
Los Lares (Demonio Cabezabajo), 2019
Plywood, wire mesh, clay,
plaster, concrete, inks,
cotton and glue
35 x 31 x 28 cm

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Julia Creuheras
Holy Motors, 2020
Gallium, tin, gypsum,
motor and chip
30 x 20 cm

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Diego Delas
Black Moves Knight
/ Draws a Line
/ Makes the Trick
, 2015
Gouache, acrylic ink and
pencil on paper,
rulers and wood
177 x 148 x 5 cm

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Paul Maheke
Les Jaraux, 2019
printed vinyl
courtesy of the artist and Galerie Sultana

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Claro del bosque
Josefina de Anjou, Nora Aurrekoetxea, Lucía Bayón,
Isabella Benshimol, Julia Creuheras, Diego Delas,
Andrés Izquierdo, Maren Karlson, Paul Maheke
and Johanna Odersky
13th of March – 22nd of May 2021

Intersticio is pleased to present ‘Claro el Bosque’ the inaugural exhibition of the new space In Madrid at Calle Alcántara 31, a year after the opening of our space in London. 

The group exhibition ‘Claro del Bosque’ includes works by Josefina Anjou (SE), Nora Aurrekoetxea (ESP), Lucía Bayón (ESP), Isabella Benshimol (VE), Julia Crehueras (ESP), Diego Delas (ESP), Johanna Odersky (CH), Andrés Izquierdo (ESP), Maren Karlson (DE) and Paul Maheke (FR), exploring the spaces, symbols poetics and rituals involved in the process of the occult, the collective and their healing and empowering force.

‘The clearing in the forest is a center where it is not always possible to enter’1. We cross a verge towards a desire, a dream, a vision, a place for communion and reunion. It is a productive center, but also the start of an exit; a space for conspiration and whisper, where defenseless ghosts, elucubrations of futures and hidden memories navigate. 

The access reveals itself as accidental, frontal, at night or during the day, it is a surprise, a futurity. ‘It is the immediate lesson of the clearances in the forest: you don’t have to look for them, neither look for anything from them’2, they will offer themselves to you.

Upholded images appear, recalling encountered lifes, breezes, blindings or reliques from a dream. Unerring spaces lighting a path,
sloped on occasions.
Blind maps shaking us.  

We would not know how we enter,
neither remember the exist,
if a clearing in the forest invites us to access its original feeling

A space of prophecies, latent and denied knowledges shrinking away from binarity. Disseminated rituals across new ways of doing, spaces for propositions evading a limitant reason. 

A scenario for healing without even knowing how long that moment may last. A frame for a ritual, traces of light and shadow, whispers crossing our feet. 

We cross the verge and we mutate bodies, circulating across a space of adoration and pause,
daydream and emptiness, where shadows,
games,
failed plans, cover us presenting the listening of those voices from the substratum.

The clearing in the forest is an offering, a recovery. A place of encounter where to shed our skin, remodel the emptiness, listening, a space for a collective reborn.

The brighting light, discordant, appears over a sky, ‘discontinuous, a clearing itself too’3

1
Zambrano, María
Claros del bosque
(Barcelona: Seix Barral, 1977)
p.27
2
Ibid, p.27
3
Ibid, p.30

Download Exhibition's Press (PDF)