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In a parallel reality of the same exhibition hall, turns Meteorito fosforito<\/em> (2013) by Bel\u00e9n Rodr\u00edguez, in its resounding materiality while a camera records it live and a screen retransmits its movement, translating that presence to the most convincing visual codes of science fiction: black background and distant glows; we all float, phosphorite, you and I, wrapped in 74% of dark energy in the outer space. At the back of the room, starbursts lighten pages of what looks like an encyclopedia of the Cosmos, a video work by artist Julia Llerena: 43 Tiny Explosions, (2015). While I meditate on the strange seduction of a combustion that converts the printed images of the static universe of the book into glare, a discrete and enigmatic accumulation like a sphinx crosses my path; a micro-projector and a fossil on photographic plate with the image of a comet. It’s 1858, Donati\u2019s Comet, No Signal<\/em>, (2018) by Pedro Torres. What do they have in common the ancient burial of a snail and the elliptical and eccentric paths around the sun of a piece of icy land? Both are time travelers. Donati\u2019s comet was the brightest one observed in the entire 19th century and the first to be photographed; it is the image of the plate. Each of the parts that make up this work (the image of the comet on the glass plate, the fossil and the projector itself) talks about the nature and the paradoxes of the different supports that stop it.<\/p>\n Alexandra Laudo’s performative conference \u00bfCom observar un cel nocturn?<\/em> framed the exhibition with more than fundamental questions: \u201cWhat is our own Big Bang? When do we begin to expand, that is, to love? ” While the curator explained the common points between the space gaze and the gaze of the artist, a group of rhythmic gymnasts were moving according to the orbit of the celestial spheres, activating an expanded reading through the movement of these closest bodies. Laudo reminded us of something fundamental: “that the function of the artist, like the one of the astronomer, is to take images away from their ontological darkness.”<\/p>\n The next related activity within this exhibition will be a quantum reflection on the cosmos, the performance Science-Fiction<\/em> by Cris Blanco (January 14th , 7 pm).<\/span><\/span><\/p>\n Under the dark and starry sky we move towards other lights; the next stop is Bajo la Osa mayor<\/em> by \u00c0ngels Rib\u00e9, at Tecla Sala\u2019s Art Centre in Hospitalet. The title of the exhibition refers to the autobiographical novel El enamorado de la Osa Mayor<\/em>, by Sergiusz Piasecki and the landscape cosmologies that have united its curator and the artist for years. A show curated by David Armengol in which “the driving axis is the way \u00c0ngels make things, her thinking has volume.” The exhibition contains different works from the artist, avoiding the idea of \u200b\u200btrajectory. For example the action Work is the effort against resistance<\/em> and the video Triangle<\/em> of the 70s dialoguing with the recent work in an arch of fifty years of artistic activity and production that deserved the last National Award for Plastic Arts.<\/p>\n As the ignorant protagonist of Enamorado de la Osa mayor<\/em>, the one who gave the name of women to his favorite stars, I dedicate myself to explore the members of the Big Dipper on the net. I discovered that its brightest point is Alioth, a spectral white star A0p1 108 times brighter than the sun… followed by Dubha, Ursae Majoris, known as Benetnash or Alcaid, Mizar, Alcor, Merak and Phecda. Names so beautiful that they can’t be human.<\/p>\n “\u2013 Do you want to know something more? I can lend you a cosmography manual, and you will be able to read things about this subject.”<\/p>\n And like the ignorant protagonist of Piasecki, I answer:<\/p>\n \u2013 No, no. I am only interested in those<\/em> stars.<\/p>\n <\/p>\n And if one leaves wanting stellar collisions, the next station will stop in the black box of the nearest commercial cinema. We travel to the epic galactic cosmodrama that is Star Wars: la ascensi\u00f3n de Skywalker<\/em>. We will have the usual dose of space battles, reflections on the dark side that nests in all of us and the generational conflicts that a father fallen in cynicism can awaken. This time, however, the hero choses to take the laser and heal the monster instead of attacking it. She reminds us that “there are stronger ties than blood”, and therefore everyone has the right to choose their own surname. Another twist to the family constellations of the Jedi saga and a very useful reminder during and after the Christmas holidays.<\/p>\n \u2014<\/p>\n Text by Alicia Kopf for GRAF. Alicia is a writer and visual artist.<\/p>\n <\/p>\n Images:<\/p>\n 1- Meteorito fosforito<\/em> (2013), Bel\u00e9n Rodr\u00edguez. Taking the most basic spacecraft that one has ever been given – the body itself – I head to the closest underground hole with a <![\"\"](\"https:\/\/graf.cat\/wp-content\/uploads\/2020\/01\/04-Glass-lantern-660x960.jpg\")
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\n2- Photograph of Donati comet in 1858, reproduced in a glass lantern, courtesy by Pedro Torres.
\n<\/span><\/span>3- Work is the Effort Against Resistance<\/em>, 1976,\u00a0\u00c0ngels Rib\u00e9.
\n4- Cap al lluny<\/em>, 2003, \u00c0ngels Rib\u00e9.<\/p>\n","protected":false},"excerpt":{"rendered":"