La Casa Encendida presenta “The Natural Flow of Things”, a group exhibition curated by Tania Pardo, Head of Exhibitions Department of La Casa Encendida that reflects on the simplest, most thought-provoking acts of creation. The exhibition proposes an exploration of artworks that draw on nature, either by adopting organic forms or incorporating natural elements. It also reflects on the colour and form resident in the ecosystem.
The exhibition features works by Elena Aitzkoa (b. Apodaka, Bilbao, 1984); Francis Alÿs (b. Antwerp, 1959); Polly Apfelbaum (b. Abington, Pennsylvania, 1955); Fernando Buenache (b. Buenache de la Sierra, Cuenca, 1958); herman de vries (b. Alkmaar, Netherlands, 1931); Fernando García (b. Madrid, 1977); Irene Grau (b. Valencia, 1986); Federico Guzmán (b. Seville, 1964); Milena Muzquiz (b. Tijuana, Mexico, 1972); Nicolás Paris (b. Bogotá, Colombia, 1977); Matthew Ronay (b. Louisville, Kentucky, 1976); Karin Ruggaber (b. Stuttgart, 1969); Adolfo Schlosser (Leitersdorf, Austria, 1939–Bustarviejo, Madrid, 2004); Daniel Steegmann Mangrané (b. Barcelona, 1977); Betty Woodman (b. Norwalk, Connecticut, 1930).
The show’s conceptual point of departure is “I Work Like a Gardener” [Je travaille comme un jardinier], a text by Yvon Taillandier based on his interviews with Joan Miró and first published in the journal XXe siècle in Paris in 1959, in which the artist underscores the simplicity of his approach to art by comparing himself to a farmer.
Some of the artists included in this exhibition—Adolfo Schlosser, herman de vries, Fernando García and Fernando Buenache, for example—were able to see structural qualities in nature and use them to compose and construct works of subtle beauty. Others, like Matthew Ronay and Polly Apfelbaum, have studied organic forms and found in them a cult of regression and the natural. Geometric balance and personal experience of the physical environment are expressed in the works of Daniel Steegmann Mangrané, Irene Grau, Federico Guzmán and Francis Alÿs. Craftsmanship linked to plasticity is also present in the pottery of Milena Muzquiz, Elena Aitzkoa and Betty Woodman, or the combination of organic and non-organic elements in the creations of Karin Ruggaber. Finally, the show offers a reflection on the capacity for contemplation of the landscape in the work of Nicolás Paris.
This exhibition is an inventory of simple gestures directly related to artistic creation and to the construction of a narrative of forms using natural elements.