FORIMMEDIATERELEASE
CRISTINAIGLESIAS:ENTWINEDJanuary9–February10,2018Openingreception:Tuesday,January9th,2018,6-8pmMarianGoodmanGalleryNewYorkisdelightedtoannounceasolopresentationofworkbyCristinaIglesias,Entwined,whichwillopenonTuesday,January9thandbeonviewthroughSaturday,February10th,2018.Throughouthercareer,Iglesiashasdefinedauniquesculpturalvocabulary,buildingimmersiveandexperientialenvironmentsthatreferenceandunitearchitecture,literatureandculturallysite-specificinfluences.Throughalanguageofconstructedandnaturalformsrenderedinvariousmaterialsandrangingfromsuspendedpavilions,latticedpanels,passageways,mazes,towallsinbuedwithtextsandstructuralandvegetativeforms,shepoeticallyredefinesspacebyconfoundinginteriorandexterior,organicandartifice,combiningindustrialmaterialswithnaturalelementstoproduceunexpectednewsensorysitesfortheviewer.Fortheupcomingexhibition,Iglesiashascreatedseveralmuralpiecesthatseemtogrowfromthegroundalongthewalls.Remindingusthatlifeliesundereverythingwestandupon,thepiecesinvadethewalls,constructingvariousforms.Lookingcloser,wediscoverdetailsthatrecallakindofcrystallizednature.Thereisatransitionthroughoutthespacetothe'PhreaticZones'intheSouthGallery,featuringsculpturalworkswithwatermadeofcastaluminumsetwithinaterracedgalleryfloor,inwhichwaterebbsandflowsoverorganicreliefforms.Bringingthecityplazaintothegallery,Iglesiasonceagaingivesusapublicsiteforcontemplationandcommunion,whilehintingatthepulsating,beatingbodyofwaterbarelycontainedunderneath.JustasDeepFountainandTresAguasbroughtarisingwaterpoolandariverbacktotherespectivecitiesofAntwerpandToledo,PhreaticZonesrecallstheriverseverpresentinthehistoryandlifeofcities.Allthespacesunitetobecomeimaginaryplacesrepresentingurbanplazasaswellastopographical,fictionalsensoryspaces.Inthisalternateworld,theconstraintsofarchitecturedissolveintolandscapeasthewaterandthecastrootsflowinacarefullysyncopatedchoreographyofmovementandsound,asthefillingandemptyingofavesseloccurs.
CristinaIglesias,PhreaticZoneIII,2015,aluminum,stoneandwater.
In1996,Iglesiaswasinvitedtobuildherfirstlarge-scalepublicworkusingwaterforthecityofAntwerp,whichresultedinadynamic,expansivewellinthelargepublicsquareinfrontoftheMuseumVoorSchoneKunsten.ShehascontinuedtoexploretheconceptsoftheundergroundthroughherongoingPozopieces,havingmadeherfirstPozoin2006.Inthesewellsculptures,waterrunsindifferentlytimedcycles,invitingtheviewertothinkaboutanunseenbelow,anundefineddepththatbothemanatesandgatherswater.Itisthisideaofthesubterraneanortheunderneaththathascontinuouslyinterestedtheartist,anditisinthatlimitlessspacewhereIglesiasconstructs.Inanadjacentgallery,DesdeDentroII(PozoXIII)flowsonatimedcycleinvitingtheviewertoponderitsundefineddepths.AlsointheSouthGallery,atriptychofworksofcharcoalandoilstickdrawingondigitalimprintonsilkwillbeshown;thesearetwodimensional,architecturallyinfluencedstudiesforsculpture.AnewseriesofdrawingsonJapanesepaperwillalsobeshown."Thewell,thecrack,werealwaysthemostliteralmetaphorforthemysteriesofthebodyandtheland,allegoriesoflife,ofsexandofdeath,theearth’scrustasageologicalscarontheuniversethebodyanditsmostintimatemysteriesareinscribedon.BodyandlandscaperushaheadinCristinaIglesias’work,innewincisionslikethelinesofatext."--Warner,Marina,“Thespringsbeneath,theflowabove,thelightwithin”,publishedinCristinaIglesias:TresAguas,(London:ArtangelandTurner,2015),page58.“TheframedworldofCristinaIglesiasisaplaceofthresholdssuspendedonthebrinkofimaginarysites.Here,sculpturesarebuiltinimaginativedialoguewitharchitectureandtheenvironment,exposingtheirtemporalities.Madeofvariousmaterialsthatsuggestametamorphosisoflivestates,theworkcallsforfluidformsofinhabitation.Evenwhentheyseemtoprevent[viewers]fromphysicallyenteringthem,theyofferavirtualvisualformofaccess.Theyarelikedoorsorratherportals,thatinvitethevisitortocrossboundaries,includinglimitsbetweeninteriorandexterior….Ajourneyofinnerexplorationbeginsthemomentweencounterthisformofsculpture,whichdoesnotconceiveofspaceassimplycontextualortreatarchitectureasacorollary.Spaceistheworkhere,andonemustbecomeawareofitsdifferentplanesofexistence.”--GiulianaBruno,TheThicknessofSurface:ProjectionsonaScreenWallThispastyearhasseenaflurryofprominentpermanentpublicprojectsinEuropebytheartist,whohasjustcompletedseveralimportantcommissions,includingForgottenStreamsfortheBloombergHeadquartersinLondonwhichhighlightstheideaoftheundergroundriverasanimaginaryzoneandaprotectivegatheringplaceconstructedtocreatearelationshipandadialoguebetweenpublicandprivatespace.FromtheUnderground,isarecentsitespecificworkofstone,steelandwatercomprisingfourwellsandapondfortheBotinFoundation,Santander,Spain.APlaceofSilentStormsisalargescale,suspendedsculpturalsteelandcarbon
fibercanopyfortheNormanFosterFoundation,Madrid.Thiscomingyear,shewillfinalizeaprojectfortheLighthouseofSantaClaraIsland,SanSebastian,Spain.TheseworksfollowonseminalpublicprojectscreatedoverthelastdecadesuchasTresAguas-AProjectforToledo,Spain(2014),inwhichthreemonumentalsitesusingarchitecture,sculptureandwaterwerecreatedtobringtheriverTagusbackintothestreetsandlifeofToledo,recallingthetimesofmutualco-existenceandunderstandingofthethreecoexistingcultureslivingatthesametimeinToledo,Spain.SubmergedSettings,isaworkmadewiththeMexicanFoundationofEnvironmentalEducation,andaspartofaprojecttocreateamarinerefugebeneaththeseaandamidthereefsinBajaCalifornia(2010).Gates-ThresholdisaworkatthedoorsoftheextensionofThePradoMseuminMadrid(2007).DeepFountain(1997-2006),isattheentrancetotheRoyalMuseumofFineArts,Antwerp.Iglesiashasparticipatedinnumerousinternationalexhibitionsandinternationalpubliccommissionstodate.SherepresentedSpainatthe1986and1993VeniceBiennalesandhasparticipatedinotherssuchastheSydneyBiennalein1990and2012,andSiteSanteFein2008.ForthcomingprojectsincludeasoloexhibitionplannedforOctober2018attheBotinFoundation,Santander,Spain,precededbyVillaIrisVisualArtsWorkshopinSeptember,aninitiativeoftheBotinFoundation.RecentsoloshowsofIglesias’workincludeCristinaIglesias,attheMuséedeGrenoble,France(2016),OnReality,withThomasStruth,IvorypressSpace,Madid,SpainandCristinaIglesias,BOZAR,CentreforFineArts,Brussels,Belgium(both2014),alargeretrospective,Metonimia,atMuseoNacionalCentrodeArteReinaSofia,Madrid(2013),APlaceofReflection,CasaFranças,RiodeJaneiro(2013)aswellasprevioussoloshowsatFondazioneArnaldoPomodoro,Milan(2009),LudwigMuseum,Cologne(2006),IrishMuseumofModernArt,DublinandWhitechapelGallery,London(both2003),MuseuSerralves,FundaçaoSerralves,Oporto(2002),GuggenheimNewYork(1997)andGuggenheimBilbao(1999),amongothers.Recentandongoinggroupexhibitionsin2017-2018includeArtandSpace,GuggenheimMuseum,Bilbao,Spain;Espaciotiempo:SobreEspacitiempo:Sobrelaluzcomomateria,instrumentylenguaje,DA2,Salamanca,Spain;ElarateyelSistema(delarte),ArtiumMuseum,Vitoria,Spain;GreyMatters,WexnerCenterfortheArts,Columbus,Ohio;DiscursosPremeditadosColecciónFundaciónCajaMediterráneo,MuseodebellasartesdeValencia,Spain;Artists’Choice:WorksfromtheSerralvesCollection,Porto,Portugal.Pleasejoinusattheopeningreceptionfortheartistfrom6-8pmonTuesday,January9th,from6-8pm.Formoreinformation,pleasevisitwww.mariangoodman.com;orcontactLindaPellegrini,DirectorofCommunications,[email protected]:MondaytoSaturdayfrom10amto6pm.
