Madrid,
On the twenty -fifth anniversary of the call GenerationsThe burning house has decided to combine in its rooms the presentation of a commemorative sample of this period and that of the winners of the latest edition of the contest, selected by a jury composed by Commissioner Bruno Leitão, the commissioner of the Macba Claudia Segura and Ericka Flórez, artist and director of the place to doubt in Cali. Almost all their authors chosen between three hundred concurrent, except one of them and by the hairs, are born in the ninety -three of the eight come from Galicia: it is Nola Covelo Velasco, Isabel Merchante, Tana Garrido Ruiz, Álvaro Chior, Mar Reykjavik, Elián Stolarsky, Javier Velázquez Cabrero and Marina González Guerreiro.
In addition to the opportunity to present their work to criticism and public, both in Madrid and in Vigo (this exhibition recovers its itinerances and will later travel to Marco), each of the winners has obtained 10,000 for the realization of its project. Although, as every year, it is not easy, in the police station of this exhibition, establish ties between the creations of very different profiles, the person responsible, Andrea Muniain, has chosen to articulate its proposals around three concepts -Temporualidad , abstraction and language-, while Leitão has pointed out that these works remind us that, in our time marked by hypertecnology, human relations and sensory experiences have not lost their character, more than relevant, necessary.
The route, although open, can begin precisely referring to the temporality contained in Which takes a … to fall to …by González Guerreiro. This installation consists of sculptural pieces and only everyday (executed in iron, ceramics, wood or brass that can be oxidized) that constitute time containers, a time susceptible to materialize in relation to a repetition gesture. The pieces convened here are artifacts aimed at questioning our notion of precise time and introducing into it a poetic (inaccurate) potential, and also the fruit of a research process in relation to Galileo studies on acceleration or essay on time by Norbert Elías. In general, the production of this author Pontevedra usually address the delicate balances between order, disorder, chance and control.
His project contrasts with the rupture of the temporality that implies the intervention in wall and the sound piece that has led to the house Noela Covelo, under the title Who finds. He has taken the voice as material, slowing it down to highlight its vibrations and plasticity, its ability to raise sensations and intimacy. The piece on the wall is responsible for distributing the frequencies in space and also physics becoming that voice, which was recorded in a chapel, superimposing shapes of that intimacy. It is the power of the vocal that manages to organize the environment where it is heard.

Tana Garrido teaches us video installation Shake what was perceived motionlessformed by two screens that had the criticism of Andrea Soto Calderón to Foucault and in the novel Crisis in Zefra by Karl Schroeder, Canadian science fiction author who speculates on the role of new technologies in future conflicts. Given that dystopia, the Catalan artist contrast a certain domestic placidity, based on relationships, and above all claims the importance of questioning what we see and how, of analyzing our visual certainties. It is common for Garrido to use immersive facilities to analyze the current reality from the approach to popular memory and nearby environments.
Share your proposal with another video installation, it is sheltered in a kind of jungle cabin: Amarañaby Javier Velázquez Cabrero. A dancer integrates in a Brazilian landscape until it became its extension, and the camera became part of its trance. It is not interested, this Madrid creator, to work from opposite or distant concepts but with its conjugation and this time has been based on a popular legend of that country, that of the Fonte do Ribeirão de São Luís, and the tangle of the roots of the roots of the mangrove. The human body, technological and nature interrelate and transform into coexistence. Velázquez is a dancer, in addition to a visual artist.

Álvaro Chior, meanwhile, has developed its production in video, sculpture, sound, writing and music, influencing the links between the image, language and gesture and in the possibilities of repetition. Your selected work is Boulderand both the title and its sculptural installation, accompanied by a monochanal video and a photograph, refer to the possible meanings of that expression: a eroded stone, exposed to the constant flow, or an interpreted and filmed song, trying to capture its preparation and The body mechanisms involved, turned into material without going through production. The photograph reproduces the interior of an enrolled score, and by its light conditions it resembles a glottis or a larynx.

Uruguayan Elián Stolarsky has been linking her work to memory in her links with history and migration: she is interested ; Also the sequelae of war and the reconstruction options, even in the field of art: through the use of textiles, collages and file images that sometimes manipulate.
In the burning house exhibits Aphantasiaa textile installation that alludes to the disorder suffered by those who cannot mentally visualize images to link it to the author’s impossibility of putting images to the past, in relation to their own status as a migrant and Jewish woman. He has tried to remember what did not live through physical and not only mental materials: fabric pieces and metacrylate fragments, which play with the focused and the unfocked to refer to that distance from the story and compose a collage with which shape what escapes.

Isabel Merchante, on the other hand, has conceived part of her creations, in diverse disciplines, such as ephemeral experiences linked to specific times and places, which evoke the intangible, as so many times in this exhibition, and that also start from physics developments or Engineering Your project in generations, One Day I Saw The Sunset Ten Thousand Timesimagine how I would live the experience of contemplating a sunset an artificial intelligence that she turns into sunsets distiller. Faced with the Empire of Efficiency, she addresses the fruits of technology from sensitivity and speculation and has placed her proposal in a room that only houses a couple of machines but raises melancholy.
A robotic arm designed in principle for industrial functions becomes here an observer of the sky and projects in real time images of artificially generated sunsets, made pixels, according to a cyclic choreography. His work can also lead us to reflect on visual and aesthetic saturation around this reason.
Finally, Mar Reykjavik closely links language and individuals and investigates translation, not as a mechanism for effectiveness but for affectivity, in the two channel video To the windin which she herself was recorded by interpreting that censored Raimon song during Franco, TO VENToriginally in Valencian. He wants to refer, precisely, to the silenced minority by subverting it: in analogy with his message, he breaks with the monolithic of the frontal image, while his filming under study, telling us how the sound occurs, alludes to the video clips of the seventies, also filmed in The interior of the recording set. Self -fiction as a suitable process to reformulate identities and the essay as an open land to the possibility are two of its usual work paths.

“Generation 2025”
The house on
Valencia round, 2
Madrid
From January 24 to April 20, 2025