Artists
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Joyce Scott
Kendell Geers
Koen Vanmechelen
Massimo Lunardon
Ursula von Rydingsvard
Zhang Huan
Abir Karmakar
Andrea Salvador
Antonio Riello
Atelier Van Lieshout
Chafa Ghaddar
Charbel-Joseph H. Boutros
Chitra Ganesh
Chittrovanu Mazumdar
Daniele Genadry
El Ultimo Grito
Fred Wilson
Gigi Scaria
Hema Upadhyay
Hye Rim Lee
Jaber Alwan
Jaime Hayon
Jan Fabre
Jaume Plensa
Javier Pérez
Joost van Bleiswijk
Josepha Gasch-Muche
Justin Ponmany
Karen Kalou
Kiki van Eijk
Luke Jerram
Manjunath Kamath
Marta Klonowska
Marwan
Marya Kazoun
Michael Joo
Mithu Sen
N Pushpamala
Nabil Nahas
Nathalie Harb
Navin Thomas
Omar Fakhoury
Parul Thacker
Pascal Hachem
Pieke Bergmans
Poonam Jain
Prabhakar Pachpute
Raed Yassine
Ravinder Reddy
Rima Maroun
Sakshi Gupta
Sergio Bovenga
Shibu Natesan
Silvano Rubino
Sirine Fattouh
Siska
Soyeon Cho
Stéphanie Saade
Sudarshan Shetty
Thomas Schütte
Thukral & Tagra
Tomáš Libertíny
Go to Exhibition:
Ana Corbero

Ana Corbero

Ana Corberó is the fourth generation representative of a family of Barcelona artists & master artisans. Her great grandfather worked with Gaudí for his wrought iron designs and had a trio with Pau Casals. Her grandfather was Spain’s topmost liturgical artisan, and her father is a sculptor whose work can be seen at the Metropolitan Museum of Art in New York. Knowing that she had to be a painter and an artist from the age of four, when she won her first national award, she wisely realized that seedlings cannot thrive in the shade of specimen trees, and given the fact that the elders actually disapproved of her choice, she eschewed the known environment to foster what would become her own artistic voice.

Corberó won several merit Scholarships to study in the US, and France, and has lived in Dallas, Philadelphia, New York, London, Paris, and Beirut, and has held exhibitions in private and public galleries in seven countries and fourteen cities. Her work, which includes a variety of mediums (oil painting, drawing, ceramics, bronze sculpture, poems, installations, collages) may appear eclectic at first glance, but is thoroughly cohesive in its rigour to illuminate consciousness and reveal essentials and archetypes, always applying the ethos of economy of means with deep, if irreverent, knowledge of the craft of a given medium.

All of Corberó works share a consistent ‘vocabulary’ however disparate the form may be. It is as if, throughout the years the artist has build a kind of visual vocabulary or language, where the individual elements are the nouns and the backgrounds, pedestals, illusion of space and light are the verbs. The iconic elements appear, reconfigured or rediscovered; the child, the head, the bowl, the clouds, the gaping holes, the plants, the boat, etc. as the precise, fulgent, temporal & immanent light or darkness illuminates and envelops all. Corbero’, if pushed for a self-descriptive label, ruefully describes her art as ‘religious’. Obviously the description is meant to imply the psychological and emotional constructs and archetypes relating so intimately to the history of human development and not a specific divine agenda. Certainly the first art was religious, and the two drives, the creative and the numinous, are intertwined from the beginning of time. Her work is no nostalgic or revivalist version of the spiritual in art though, but rather an understanding of its meaning as Marcel Duchamp so accurately expressed it: making art “is a shamanistic activity”. From where we deduce that its underlying aim is to create consciousness. Beyond the conceptual, the work of Ana Corberó is based on knowledge & observation. The means tend to be simple and based, and in this age of shortcuts, this is a knowledge acquired and honed slowly and patiently over time. This break from the Modern tradition, is again no revivalist arts & crafts position, but rather a universal understanding of the profound value and rarity of synthetic knowledge

 
2017
2018
2017
No exhibitions for this year
2018
No exhibitions for this year

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