TITLE OF PAPER / TALK:
Roadmaps. Rogelio López Cuenca.
SUMMARY:
The trajectory of Rogelio López Cuenca (Nerja, 1959) is one of the most consistent artistic practice committed in the English art scene in recent decades. Away from trends, his work clearly personal, explores the fissures that undermine the broad concept of representation in our time: handling, identity, public sphere, city, travel are some of the themes and concepts used, expressed through a personal visual discourse full of appropriations, linguistic resources, alterations and irony. The story, as visible in the environment report immediately in which they operate in contemporary societies, and the strategies of manipulation and alteration of it, is one of the most intense lines of work developed over the last decade.
ANGEL GUTIERREZ VALERO. PROFILE:
degree in Geography and History from the Universidad Complutense de Madrid. Master in Cultural Management at the Fundación Ortega y Gasset. Serves as an independent professional in the general area of \u200b\u200bcultural communication, with special dedication to the field of generation and articulation of content, museology and cultural interpretation. He has developed and coordinated projects in museum and exhibition curator and defining quality of the content structure for various institutions, both regional (Castilla y León, Century Foundation for the Arts, Patio Herreriano) and university (Deusto) and private (Sánchez Germain Foundation Ruipérez). Has participated in research projects and documentation to different museums (IVAM reasoned Catalogs and Patio Herreriano, file of artists for the MUSAC León)
Among his publications can be highlighted their work for the project Archive Cultures (2005, Valladolid), the exhibition catalog Roadmaps. Rogelio López Cuenca (2008, Valladolid) or linked to the recent publication of Ibón Aramberri exposure in the Monastery of Silos (Burgos), in programming the Reina Sofia Museum.
is currently Coordinator of the College of Tourism and Cultural Heritage at the Instituto Superior de Arte-I in the field of theory and practice of contemporary art. However, this has happened not to a few conflicts and contradictions. On the other hand under the notion of public art, often are grouped productions and attitudes of very diverse nature. This paper attempts to make a reflection on the various artistic approaches grouped under the above name and generate a critical analysis about the gap between how have operated and the arguments about those who have sought their legitimacy.
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