Exhibitions
Sculptural corpus in Alarcón Criado, Seville
The inherent tension between the sculptural element as a stable form until it derives in action and reaches transition and performativity. From May 23 to July 31, Corpus. Notes on sculpture, movement and performativity is on display at Alarcón Criado in Seville, featuring works by Pedro G. Romero, Mercerdes Pimiento, Alegría y Piñero, Miguel Benlloch, Elena Coca Porras, Nacho Criado, Anita de la Cuadra, Cristina Mejías, Pepa Rubio and Julia Valencia, curated by Enrique Fuenteblanca.
Alegría and Piñero, Trial by Fire IV, 2013-2014
This new collective exhibition project is created from three intertwined and complementary conceptual axes, allowing for a dialogue with the work of the aforementioned artists. Transits, Popular Imagery ; Gleaners, Galleries ; and Traveling Theaters, Transits are an exploration of how the body, space, and gesture interact with current works.
In the first zone, sculpture takes center stage through ritual and political circulation, based on works by Pedro G. Romero, Mercedes Pimiento, and Alegría y Piñero, particularly Proof of Fire V , establishing a critical dialogue with the tradition of kinetic sculpture. Popular, sacred, festive, and political elements come together to produce forms, position them through movement, and create a union between vision and thought.
Pedro G. Romero, Ossuary Gate, 1991
Pepa Rubio, Cristina Mejías, and Julia Valencia are the main subjects of Galerías, gleaners , the second axis of the exhibition at Alarcón Criado in Seville. Assembly, harvesting, and utilitarian function are presented as open, resilient displays, articulating everything from natural materials to industrial waste. A spectacular transformation of the space with the singular, collective element creates a connection between art and everyday life.
Traveling theaters, transits , closes the exhibition with a theatrical dimension where the sculptural leads directly to the performative and theatrical. Imagination, illusion and carnivalesque celebration until reaching the works of Elena Coca, who positions her work in the form of an epilogue with Las Galgas, los huesos, los despojos and Saco ciego (Blind Sack) , a work from 2025. The gallery thus ceases to be a mere container and becomes a site, an open possibility to the collective imagination, to the ongoing process and to that which is yet to be named.
Julia Valencia, Grip and Tear, 2024
