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Uclés: Labyrinth auratic

Cànem Castellón Gallery is once again avant-garde art by the hand of artist Josep Uclés set under the series entitled "Berlin" which aims to unravel the great unknown world that is the mind.

How is the mind? Is it possible to "see" the mind? The debate about the cerebral representation and location of the mental processes have been encouraged recently catching on. Not that the debate on the relationship between brain and mind, which was always very irregular, has now been enriched with theoretical particularly original. It is more visual approaches, according to Michael Hagner says in Article How the Mind: visual brain processes , based on a number of techniques that go beyond the scope imagology any visualization technique known until now in the neurosciences. In the history of human science, innovations in display technology have influenced the perception of physical and moral nature of man. The neuroimagología has become psychological phenomena in visual categories, thus changing epistemic and cultural status. How deep and long will become these changes is not clear yet, said Michael Hagner but basically there are two possible scenarios. Or brain imaging will come to play a key role in determining our identity, at least in certain areas, or eventually lose their appeal, they see images involving alleged mental states with certain brain regions ultimately prove ineffective if not manage to provide some deeper understanding of how they relate to brain state and mental states. However, Uclés creates an identity and self-image of the mind which refers, no doubt, a sinuous organic reality and stimulating our senses. Appears to stop momentarily aside the purest branch of figuration to meet the mysterious universe that lives within us. To do Josep construct their own reality through fantasy, that is, creates a fantasy world trying to fill the gaps in existing information about the functioning of the human mind. Thus, one could say that his work expresses what would become a series of labyrinthine connections that occur in our bodies to process the information we receive, as a thread Sinop interpretant employs to capture and make sense in itself to our reality. Is a constant reference to the relationship of opposites that is established between the exterior and interior, which in turn, causes a latent tension between you and I, since perception that one will never be equal to that of another, and therefore reality is always different.

Uclés recreates the mind of a deep black color that takes us away with that sense of endless, heartbreaking silence flooded floating adrift as he tries to establish connections over an ethereal atmosphere is almost transparent, like a spot they were virgin, in which the sun's rays illuminating and comforting fall with soft golden highlights that anything unknown that we call mind. Josep again surprises us by giving a masterly great spiritual power, along auratic, all this scientific process connections and establishing networks as a network in our brain.

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Altea Grau: Confluence

The young artist builds an open space and enclosure, which houses immediately to the people who visit and attends the room. Grau predisposes the visitor to merge creating a zone where visitors can form an integral part of his work and trace the act of converging, spirit halo surrounding the entire exhibition.

The exhibition revolves around the confluence, in other words, ideas, circumstances, purposes, memories, and desires that searches over time coincide in the same order. As a spot at the confluence of roads, rivers and streams that end up flowing into the sea.

Altea remarks and highlighted with special attention to some of the poems of our dear Miguel Hernández as "My name is Miguel but my name is mud" or "Heart is water", both poems queen so you might consider a transformation , ie a transformation that involves a change in shape so that reveals its true nature. As you can see in these first three verses My name is Miguel mud but call me. / Mud is my profession and my destiny / That spot with his tongue as lame. Or The heart is water / that is cherished and sings. / The heart is a door / that opens and closes. / The heart is / water is removed, coil, / swirls kills. /

Grau leads us through a journey of emotions and feelings, in short, tells a story, his own and it is served from forgotten lines and burned for some of us and unknown by others. We come then to the conclusion that all confluence, is a single being. As reflected Miguel Hernández in the last two verses: After love, land / land After all .

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Álvaro Perdices: Transfiguration space

DENIED, Open and naked is the title of the last exposure to Álvaro Perdices Espai d'Art Contemporani de Castelló. Partridge

invites us to reflect on the institution, what is the institution? What role can reach?. To do so creates and diversifies Perdices way to approach this reality unknown to many of us. Thus, forging an institutional vision through different prisms, from the sculptural intervention EACC the same, using the exhibition center's own role and referred and also emphasizes the work center manager, project management and use of public space by the viewer.

Álvaro Perdices the institution intends to accommodate a sofa from which position in a myriad of possibilities. This act itself we moved to the more complex world of Lacanian psychoanalysis.

The different points of view to which Partridge directs our watchful eyes we discover unsuspected facets and new developments between what we consider "inside" and "out" of our society and how these spaces can be reversed depending on our own positioning.

The artistic skill used by our artist is in the paradoxical articulation of relations, ie in the game that begins with what can be and is not, for instance in the game that occurs between the three corners of a triangle and its possible transformation.

Álvaro Perdices DENIED titled, Open and naked moves in the Espai d'Art Contemporani everything should be in place. The exposure draft itself activates different EACC spaces and functions by a joint art exhibition in all areas. And down endless interconnections that are used to link the various interrelationships and contradictions which are caused in the exhibition space.

One of the items on this exhibition is intended to clarify Álvaro all the administrative work that lies beneath the artist's creative talent eclipsing, so that makes everything visible what is not seen in the daily life of a space or public entity, incorporating the viewer as essential and indispensable part of the process. Hence, part of the exhibition hall is the setting to present on a white carpet the offices, the center's employees and their daily functions as a performance. Again will reverse the roles because the empty offices thus become an exhibition hall with the help of the artist.

Partridge once again proposed a scenario where the roles of space and its innate functions as those of visitors are extrapolated, in this particular case, through sculptural intervention in the building of the EACC , in which the artist creates a free and direct access from outside to inside it, cut off from the space and that is not accessible through the interior of the showroom. We could talk about a kind of sculpture as an optical illusion, as it proposes a new reading between the role of exhibition space and houses the works.

Álvaro Perdices parallel to the construction of a new network of re-articulation of roles and readings of the institution as well as the works and the roles of these and the reactions of viewers, has developed a set of video installations and photographs the result of three "actions" taken around the walls that enclose the exhibition area of \u200b\u200bthe room of EACC. To produce contributed equally to this work made up of disparate groups: 22 children in the School Census of Castellon, 27 dogs canine Recovery Center Services Castellón and 15 students of the Faculty of Fine Arts in Valencia. With performing different exercises, through physical activity, performance, and action imitation whipped-collect the responses and behaviors of the different bodies and their undeniable politicization with the institutional space. Reactions coming from the depths of being where the ability to know and acquire knowledge is precisely because of human inability.

Through of the various actions carried out within the space we can get the minimum degree of understanding that only when we fail to reach harvest with obvious knowledge. Therefore "not understand" what we visualize or expect to acquire the work is what brings us closer to achieving incongruously so desired aesthetic experience, which lies between being stunned or mesmerized by the same practice.

However, black and white walls of the EACC, in this particular case, become the perfect setting in the individual recipient, the key element of the work, as are those receive and welcome the product of a series of stimuli and effervescent action, the result of many reactions of various kinds. No doubt the emotional premium on sound, clearly reflecting popular unrest against concealment or widespread violence by discrimination in the cultural field.

The filming of the performances, accompanying the exhibition, makes video installations that penetrate and unravel the physical characteristics of space. Opposing and contrasting directly with the photographs that the artist has taken over the act of action, therefore, creates a palpable tension between action and reflection through which is generated and wanders the meaning of the exhibition.