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criticism without vocation of carping bait. Suggestive

Dear Readers:

Motivated by the opinions and assessments arising out of dynamic and enthusiastic discussions among friends, as well as comments received in my email, readers and supporters this blog, referring to the unique way I have in this space, making the scoring of the works of painters (not to) that exhibit in the public schools of our city and a far cry from the way he makes official criticism, today I share with you a thoughtful opinion on this difference, especially as regards painting and mainly by some (not all) critics 'official' who exercise regularly in the press and in different media and wider public dissemination of Castellón, something that certainly should demand greater accountability and rigor in their emphases and approaches. (In picture, "The Art Critic" by Raoul Hausmann.1919) .

It goes without say that I am of they think to comment about something, it's always better to have a good understanding of what is said. And by that I mean not only to academic knowledge, as everyone knows, there is one university that spends most of its time in college, enjoying the center's cafeteria, smoking the odd cigarette and making laughter bulls, I mean something that is sometimes as important or more, that hold a bachelor's degree or doctorate in art, I mean the career factor, which provokes and largely determines the degree of depth, commitment, sincerity and clarification of the judgments made, and that the bigger and better is this link to knowledge everything we say goes from being a mere opinion, to be accepted as standard and therefore greater weight and interest to all.

Since my arrival in Castellón for more than 16 years, I've noticed some errors of form and content in the analysis and assessments made by some art critics of our city, especially on issues relating to the results artistic creation, specializing in painting. Here are some examples.

one hand, and responding to what I understand as a clear ignorance of the technical meaning of the language of this art form, some critics seem not to understand yet, the great difference between the ease of a touch vague and neglect treatment, including the color domain of a painter with a letter, and the aberrant use of color that makes one in a box, where more than "color", we find Infant explosion "bunting" or expressive character that can transmit formal recreation of an object, which shows a clear mastery of drawing, the other, which is blurred by lack of knowledge and lack in this aspect, and to talk about the most used and all recurring features that refer in their writings!, the "strength", which incidentally is to say, that has nothing to do with the movie "Star Wars", but may be attributable to both the property of the brushwork, composition, color, or use of treatments and artistic resources, among others, and that can only be provided that it responds to control and mastery of these aspects of the painter, not a weakness that expresses the clear disregard of the structure that exists in the color, the color itself, compositions, textures and other visual resources expressive.

And I think that all these deficiencies in the use of the concept of plastic and technical resources that are referred to the criticism, are given for even being able to have This specialist endorsement of academic knowledge, often illustrated by a degree or a doctorate in art, they lack the necessary culture to a perception of clear and effective reading of the image, sometimes closely linked to the technical and specialized of the artistic discipline that are criticizing something that can be found in the intrinsic notion of discourse, which contain plastic resources. That is why sometimes used in critical analysis, a subjective perception and more or less simplistic, based on your particular taste (sometimes deficiency, other trends) rather than placing it consciously or unconsciously as a specialist in a position very limited and partisan author, language and specific or unique trends, inappropriate for someone who must analyze the true value of quality and also have a comprehensive and universal of the study, both the works and of the proposals.

I recently read a "critical", where the only interest that could have written, was the anecdote, testimonial of a frivolous and insubstantial experience that tells us how critical a friendly "war stories" from his years boys while working at another newspaper, but strangely, this "nice" story, bore no direct relation to the alleged work that he was criticizing, maybe things like that happen, because Mr. critic had not had time to talk with the author, and thus have at least a closer and more objective idea of \u200b\u200bthe intentions and characteristics of the work process that the artist had followed in his work, something that for me (and I think everybody else), not only is elementary common sense, but also respect and consistency with their work and the artist himself, I suppose, would have preferred to that sympathetic kind and beautiful words of the letter, a more serious view, deep and weighed about his work.

addition and purpose of words "nice" and "pretty", I must admit that sometimes, despite the banality of the analysis, I find in these critical, high literary values, with exquisite views involved in language more or less poeticized, sometimes indecipherable, recalling an eighteenth-century baroque, Heavily sweetened, not suitable for diabetics and I can say against him, (basing on recidivism with which this happens), which is always favorable to the artist, regardless of the quality, experience and expertise they own, which never missing juicy adjectives to soar to the "operator" which carefully shows his works in public spaces. Thus, all of them are great, exceptional great, virtuous, with great force, (is this the kind) expressiveness, originality, and so much more. critical that we always enjoy exclusive predispose, something supposedly one-off, but when tested in reality, sometimes we see that such accolades are not well matched, let alone justify, with the quality of the work and that So we realize that it is not so bad, really feeling cheated and above all, misled by those who in theory are the experts and managers to cultivate our aesthetic taste and cultural.

no shortage in these criticisms, provided temporary refuge to comparisons with dedicated teachers of art, equating the results of the beginning, and have not yet said or done anything in the art, which are already part of her story on her own merits. And all this advertising in the media, I understand an act of great irresponsibility professional, which states both that without leaving the shell, nor did it prove anything, or being just a humble teacher, and feel you have reached an important place in the art scene, thanks to the comment that has published a "specialist" in the subject. As is also deceived the public attending the exhibitions to see, that by so much praise from those we recognize as "experts" have no choice but to accept as good the ratings to make what is no more valuable than that which can be awarded to an amateur or a professional begins.

I am of the opinion that good professional critique must always be honest, responsible, educational, objective, equitable and fair result, and putting these qualities as a premise, is a priority, healthy, constructive, and doubtless necessary in the exercise of criticism. The highest kindness and generosity repeatedly in court that is made of the results of all those who put in public spaces is not only counterproductive to the painter himself, (which has kindly been deceived) but a clear act of injustice to artists who have as a reference. Because if you qualify for a brilliant critique the results that may be even substantially improved, What shall we call then that makes a teacher who acts as a technical reference and proposal? I honestly think it's not just an imbalance and lack of objectivity of the analysis, but also a clear injustice for those who have really quality work.

Some once told me that critics in this city, had their "hands tied" because Castellón was a place where everyone knew everyone and if it was too frank in criticism, they could get to insult and change attitudes discord and had no the intention of collecting enemies.

I sincerely believe that if that's why we have in our city, an official criticizes such deficiency and / or dishonest, little or no respect you have for art, the public, by painters and especially by own sense of professional responsibility, and I find no possible justification for acting this way because the game has always been clear and decisive. When an artist shows his work outside his studio in a public space, it is subjected to trial and sincere appreciation of all those who contemplate it, are industry professionals, experts, fans or just public art, and this is something that the artist must assume consistency, normality and self-criticism and if not, it can make use of their work to decorate your home.

Consistent with this principle, this blog will continue analyzing and evaluating the work freely (not the authors) that are exposed in public spaces (not in private galleries) from the honesty and openness that I always been characterized to art, giving reasons and arguments in each of my criticisms as before, and as is logical and fair as well, are likely to be shared and discussed by others, but always with respect and weighted analysis which lead to arguments. And that is angry about it, you can always change channels from your control, or conversely, make good use of my words, because experience has shown me (also with this blog) that a professional critic, but may be a sometimes overwhelming, if substantiated, is didactic, honest and fair opinion and always creates rich. And in this sense, I appreciate the growing support for this blog, by its readers that apparently, here are a "truth" more sincere and convincing, that this reading of art criticism in newspapers.

to the next installment. Amaury Suárez

Menards Retaining Wall

words on paper.

Dear readers.

"Words on paper" is the title chosen for the exhibition on display in the hall of the cultural center Castalia Iuris (Plaza Cardona Vives, 10) and whose author is responsible for Sales Mery painter (Valencia - 1970), Doctor of Fine Arts (cum laude) from the Faculty of Fine Arts of San Carlos de Valencia and also winner of the Art Club V Paul Ricard in its edition with the play "Burning Conscience."

The exhibition offers us on this occasion M. Sales, is surely a sign of great visual lyricism and delicacy, his pictures, painted on different formats (mostly small) have been made with very good bill and a marked finesse of the technical treatments. The reasons recreate pieces of paper scattered to the wind, which may refer in some way, to the almost "romantic" act of writing on paper, in an age where e-mail and cyber communication, especially in the first world, eclipses or move this action, which is limited to curb increasingly small and unique artistic discipline of the writer. The theme could refer to weak fundamentals, ideas, views and values \u200b\u200bof virtue, which now charges its most poor of the modern era, which dispensed with, to stand as common agora and amplified by the media, vulgarity, triviality of trials and tests and poor education that we see manifested in words and deeds of people, even those that somehow found linked to the sublime art industry, both as creators, critics, or directing the cultural policies of the various areas.

Any interpretation or reading in this exhibition of Mery Sale is not only possible but welcomed, because talking about this ancient and ductile media, such as paper, refer to the object since its invention by Ts'ai Lun, in the year 105 a. C., has helped the man as loyal and silent witness, to record on his "body", from the most virtuous pages of its history as the most shameful and immoral, which always perennial witness to the memory of the past and warn the experience of this. Pity the little love of reading that now have some, returning to make the same mistakes of the past.

"Words on paper" is one of those exhibitions that allow us to enjoy, not just a staging estimable, but also a broad interpretation of its proposal discourse. And even when the subject seems exhausted its wide range of composition, we can always find a new reading in each box that invites us to reflect on the objective reality that is with us. Congratulations to Meryl

Sales for this exhibition, which ends on November 3 next day and I hope will be visited by the broad public of our city.

to the next installment. Amaury Suárez

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"Icons", a revelation for our eyes ...

Dear Readers:

On Tuesday October 19 was inaugurated with great success of public assistance, in the main hall of the Provincial Cultural Centre "The Classroom "(located at number 1 in the square of the same name) exposure entitled "Icons" (although the title does not appear reflected in the catalog) by artist Rachel A. Lara (Murcia 1975).

Discuss the work of Rachel A. Lara I find it relatively easy, as is someone with whom I have a very close professional relationship and is an artist I respect and admire for a long time, not only by the unquestionable quality of its buildings but by the rigor and seriousness always prints in the processes of creation and seek new proposals. It gives me a pleasure to comment on this exhibition entitled "Icons" and that the author gives us after nearly two years of research and hard work.

current work of Rachel A. Lara, serves a delicious harmonic result of the relationship between aspects of form and content, which makes no doubt, in a unique and very interesting proposal plastic. The disparate influences seen in its original figuration, such as Cubist distortion, expressed a sense of visual polyangular and perspectives of the object, represented with a photo-realistic naturalism next treatment, which point and cause a singular expression that the Authority issued elegant and very consistent with his proposal speech, he invites us to reflect on those things or people we think we know, but in reality only know appearances.

From the conceptual point of view, the work of Rachel A. Lara, we proposed to recognize in each of his paintings, characters are a reference pattern or icon of any kind, and more or less influence on us, we link or always refer to their actions, status, or activity covered by the media relevant to making or has made in the social, political, cultural or any other, hence we can "discover" in his works, known singers, actors, politicians, popular television, universal icons of painting or others that are a benchmark in of his inner circle (but no less important) that represents the friends, all of whom expressed by the artist, from the absolute distance and probity in value judgments, it is not part of their interest, or target his speech, taking sides with any of them, but describe it as the author sees it in its formal aspects most significant, regardless of the current role that they hold or have held, as referents of moral, artistic, social and political rights of our reality. Hence we can say that far from being this simple, traditional displays of portraits of "famous" Icons have served as motivation Lara, do not constitute a landmark in praise of virtue, beauty or model (as has traditionally been treated in this genre picture) recreated but a selection of people and personalities, who have a greater or lesser extent a substantial significance for we established the same way, a certain link, affinity or empathy, whatever their virtues, turning them into reality as we know, or think we know.

is significant and astonishing in this work, as the intentional distortion in the drawing of the portraits, we do not prevent the easy identification of the character, image started to "reconstruct" from our minds, to be finally sorted and restored in our mind, all thanks to the use of the quality of memory or memory, which in turn tells us and shows, the careless attention we pay to detail, thanks to the general perception we have to observe things and people, and causes as a rule, hold trials, analysis and evaluations very superficial and sometimes unfair or inaccurate both phenomena, things and people around us.

With a polished technical treatment, both the drawing and color, the work of Lara, is undoubtedly one invites us to reflect on our relations with the environment and people, because it is the same view, to observe. Only those who can drink the essence and the truly momentous events, things and people, not take into account the wrapping of their appearances, and so analyzes, evaluates and gives its opinion weighted truly revealing important.

The exhibition "Icons", is one of those samples where the good work, and the best thinking of speech come together in a fascinating series of tables, where the plastic result invites us to discover a new way of thinking not only the portrait as a genre, but also portrayed as a reason for inspiration. The symbol, with great strength and interest to support the concept, but never to replace the object, the work provides a unique harmony of large scope in contemplation and delight in its intention of discourse, it is certainly something very unusual in the plastic today, precisely the reason being that, to make it a revelation to our eyes. I am convinced that this exhibition will be such to remember for a long period of time, not only for its technical quality, but also and primarily for the originality of your proposal.

Raquel A. Lara with this exhibition, has placed a strip of very high quality and proposed in the plastic stage of our city, and I hope that this will now serve as a stimulus to us all, that after this magnificent exhibition, also come from other artists, who worried about the same goals of quality, help to raise the technical level and creativity of our city, thus both art and ourselves, we will be the sole and maximum benefit from it.

to the next installment. Amaury Suárez

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Connections ... despite what disjointed. Family portraits

Dear Readers:

Once again the exhibition hall of the Municipal Cultural Center of our city, like all know is located in Calle Antonio Maura, 4 surprises us with a very good exhibition of paintings titled "Connections" offers the artist Antonia Gallardo "To" Gallardo.

The Catalan artist at this time gives us a set of works (mostly abstract) of great beauty and simplicity of colors, where the acid tones, pastel and white broken suggestive give color to organic compositions where the use of collage, stencils and spontaneity of the stain, an elegant living in harmony. Their works allow us to enjoy a variety of solutions that the painter used with skill and taste, from the strong graphing on the paint, where the visual duality seeks to confuse the eye with the volumes of the threads of wool, even the resources of gestures spot seeking refuge in the inheritance of the typical action of abstract expressionism.

To Gallardo uses Textile as volume and texture, and above all as the main expressive element of his work, thus the patchwork, wool and hemp yarns, textile prints and other media emphasize a language that although with great weight decorative aesthetic, not empty, or simple in its intention of discourse. Landscape compositions with strong suggestions that allow us to "discover" the variety of reason that goes from the panoramic perception, to the subtle, delicate and detailed vision of an anecdotal nature.

Antonia Gallardo's work, is one of those results is only possible through experimentation, combining and constant search for new ways to recreate the beauty and speeches in the art. Speeches these fortunately, at the margins and well above the wicked and selfish intentions that have been doing some long, on matters subject to linguistic identity and feelings of nationalities in some areas of this country. And I say this because to my surprise in the exhibition, we find a modest, lonely folio as a catalog or information document that talked about the author and his work, written exclusively in Catalan, the latter serving as an introduction to the broad and diverse public visiting the exhibition. And is not this curious detail that I remember these aberrant aspects of politics and I do not seem to get, but also do not see any success, or usefulness of it, first, because the exhibition is displayed out of town where we all know the great weight, size and preference is attributed to the Catalan language, above all other officers as it so thanks to the support of policies design language that the authorities of that community, region, province or nation, here fortunately, the reality is quite different (at least so far) here we can speak the language seem to us more useful and convenient to communicate, be it English or Valencian, without any kind of complex, without suffering the slightest rejection and above all, without free choice that we all speak in the language we deem appropriate, we linked to any specific sense of national identity at the expense of another. And second, because I'm sure that if the exposure been shown for example in speaking country English, the author, or institution responsible for promoting the exhibition, look for ways (perhaps as simple as that used amateur now with the page) to write his "Presentació" in the language of William Shakespeare, because not only is Basic common sense and good education, but also a good source of "marketing" that favors the promotion, and thus the sale (by the way, this last word in wide use today, is an anglicized incorporated into English for its enrichment not responding to anything evil, or are allergic to write or pronounce it).

Fortunately actions speak louder and not good intentions, and in this case, and thanks to the good quality of works exhibited in this exhibition of the Catalan artist Antonia Gallardo, we all win because it has imposed the sublime language of art and painting, which knows no language , or nations, nor of intellectual myopia still men who lead us from the institutions. The goodness and coexistence in the language of art is infinite, and is a valuable resource for communication, which allows the most authentic and universal "connections" between all people, and no matter where we are, or where we find born.

Congratulations on the exhibition and hope that a particular like this, I see more as a promotional strategy and error business, not hinder us from enjoying the beautiful connections that it has taken account of the artist.

to the next installment. Amaury Suárez