Victor Castillo: Strange Fruit and Miss Van: She-Wolves.

braskart

Merry Karnowsky Gallery is proud to present Victor Castillo:
Strange Fruit and Miss Van: She-Wolves. The two Barcelona-
based artists unfold their unique personal perspectives on
subjects like seduction, temptation, innocence, desire, and
cruelty.

A moral allegorist, Chilean artist Victor Castillo pairs classical
painting with cartoon-like characters. He paints children in
dark secret gardens, where they innocently reenact violent
media images with brutality and indifference.

Most of the characters in Castillo’s paintings have phallic, hot-dog shaped noses,
humorously suggesting Pinocchio. He also makes reference to contemporary culture,
human error and vices, politics, and the loss of values in the increasing consumption of
modern life, which he sees as an insatiable desire that blinds us.

Castillo’s work has shown in Spain, Chile, Cuba, Argentina, Brazil, Japan, Germany, the
United States, Canada, Belgium and Taiwan, and has been featured in Juxtapoz and Hi-
Fructose magazines.

French artist Miss Van has become one of the best-known
female painters from the graffiti scene, gaining worldwide
acclaim for her work. In She-Wolves, the ultra-feminine
“poupées” (dolls) wear animal heads as they reflect on their
dark, predatory natures.

Always seductive and mysterious, Miss Van’s characters reside
in a mystical world of quiet introspection, as they get in touch
with their feminine power and the dangerous animal within.
While Castillo’s work challenges the viewer with the consequences of allowing our weak
human nature take control, Miss Van’s work asks a different question: What happens if we
surrender to our animal nature?

Miss Van’s work has shown in the United States, France, England, Austria, Italy, Spain, the
Netherlands, Switzerland, Belgium, Germany and Australia, and has been featured in Juxtapoz and Swindle magazines.


Merry Karnowsky Gallery

Swimming Without Water

braskart

Swimming Without Water’ by artists Debby Akam, Flora Gare and Tim Skinner
Contemporary Art Exhibition at Moseley Road Baths, Balsall Heath, Birmingham

‘Swimming Without Water’ is a contemporary art exhibition in an Edwardian swimming baths. We are commissioning a series of new works for this exciting non-gallery environment, which resonates with history and meaning.
We want to start an awakening
The artists, Debbie Akam, Flora Gare and Tim Skinner, are working to bind their works with this glorious historic building, to re-enliven it; to re-populate it through an engagement with the building and the audience (swimmers and non-swimmers from Moseley Road and beyond) through the medium of art.
‘Swimming Without Water’ is a meeting of Art, Space and Audience
We want to offer the City a chance to discover something new, as well as old: a new perspective on this piece of their heritage.
Everyone is welcome to enjoy and experience this project, including many who do not see themselves as being interested in visual arts. Works by artist Debbie Akam will be made through the participation of audience members and local groups, and different events and activities throughout the show are there to inform, entertain and help with the ongoing conversation between art, space and audience.
Jimmy Lindqvist and Maria Regla de Garcia-Bernal are both independent curators, living and working in Birmingham.


Swimming Without Water

Marcel Dzama

Marcel-Dzama

Marcel Dzama (1974, Winnipeg, Manitoba, Canada) presents his second solo exhibition in Spain, and first in Galería Helga de Alvear. His drawings, endowed with a unique and personal imagery, have become extremely popular in the past few years.

Marcel Dzama’s world is rooted in the history of traditional illustration, with visual references which refer us to the classics from the decades of the 20’s and 30’s of the last century. Nevertheless, it is as if the artist were presenting us with a perverse version of these. He has created a personal, perfectly identifiable iconography, with recurring characters who perform rather difficult to discern actions, creating an atmosphere, an aura, full of humour, irony, anxiety and absurdity.

These are hybrid characters, personified animals, animate objects. Their actions are sustained on the limits of narrative, prompting the spectator to find a meaning, a linearity, which doesn’t lead anywhere but which keeps the spectator guessing. It is as if we had access to a unique, not decisive moment, not knowing what happened before or what comes after.

The works are realised in pencil, ink and watercolours with a restricted palette: there is a dominance of red, brown, green, khaki, grey and black. The paper background is always left white, emphasising that reference to traditional illustration and, occasionally, the artist adds a text, either a line as a title or filling up the whole page.

He has produced a project specifically for this exhibition, in which he has given vent to Spanish motives. Almost as in a circus parade in which we see Don Quixote, bulls and bullfighters, flamenco dancers and a new character in his world; perverse, dressed in polka dots, and sexually ambiguous, these figures along with details borrowed from Goya’s drawings and quotes from Federico García Lorca and from the Aragonese painter himself.

Regarding The Dance of Delilah, the artist says: “I had recently embarked on the task of collecting the images piled up around me, and Delilah wasn’t something I was expecting to do. It emerged from the concern with the meaning of existence, and, above all, the death of the anonymous masses. Thus, Delilah dances with uncertainty and plays with language, as if she really cared about one language or another. Beyond that, the rules are random, and nothing is familiar or usual, although they do join the rhyme and richness of the harmonies and the suggestions of the imagery. So, please, enjoy the dance.”

Along with the series of drawings, the artist also presents the video “The Infidels”, in which two armies, a male and a female one, face each other in a battlefield, mixing choreography and details of great violence.

Galeria Helga de Alvear