Exhibitions
The wounded reality
Exhibition that can be seen until January 18 at the Espais Volart of the Vila Casas Foundation.
In 2022 and 2023, Toni Giró (Barcelona, 1966) presented two exhibitions that, under the title L'obsolet absolut at Can Manyé in Alella and Revelacions 2013-2019 at the Galeria El quadern robat in Barcelona, proposed the two characteristic axes of his research. With a contemporary look at conceptual art, he presented on the one hand the occupation of space with expanded sculptures and on the other a message of social, economic and political denunciation in the face of the contradictions of today's society. Starting from spaces of reflection, he now invites us to question the attitude to take in the face of a conflict through the alternation of media, adopting different languages. The Espais Volart of the Fundació Vila Casas present the project Sòlid que es fond en l'aire which brings together a selection of works by Toni Giró.
The exhibition, curated by the artist himself, brings together three decades of experimentation and has been conceived as a scenario in which the viewer finds interventions in his itinerary, as if they were dialogues and monologues used as artifacts of thought that build a narrative of permanent rethinking. It does not stimulate an anthological story, but rather flows a complex field of relationships and connections “where complicities are established between them in order to overcome chronological distance and bring into play the multiplicity of senses”, in his words.
As an artist, he focuses his efforts on the transformation of space; on its staging. He stands out for his ability to transfigure sculpture into inhabited architectures until reaching a point of symbiosis between both disciplines. He formulates a macro-installation formed by a large number of small structures, objects, drawings, photographs and sculptures that are articulated by unfolding towards the ground and expanding towards the walls.
The peculiarity is that it is a walkable montage to reinforce the scenographic concept where the visitor becomes an actor and feels part of the dramaturgy and the entire representation. The author wanders with irony over the present to point out the limits of contemporaneity. Starting from a conceptual approach and a commitment to denunciation, he tests the agreed limits, because it is in these margins where the impulse of life beats. In his career, it is necessary to underline the importance he grants to the recovery of nostalgic memory and longed-for time in the search for new meanings towards the objects that exist in his vital environment.
