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Nacho Martín Silva - Après la fête
Artist Biography: Nacho Martín Silva's work is articulated around a painting projected from concerns linked to concepts such as the fragmentary, the simulacrum and the representation or the plausible. Taking the History of Art and Humanity or the creative process itself as axes, Martín Silva maintains a constant concern about how to deal with the Theme through painting, resulting in a polysemic work that takes different directions in its formalization. Nacho Martín Silva has a degree in Fine Arts from the Complutense University of Madrid, the city where he lives and works. His most recent solo projects include Il futuro non è ciò che era, curated by Tolo Cañellas, at Box 27 (Palma), and Tir del hilo hasta queda ciego at JosédelaFuente (Santander) in 2017, and El Gran Estudio, curated by Ángel Calvo Ulloa, at the Centro de Arte de Alcobendas (Madrid) in 2016. He has participated in group exhibitions in museums, galleries and international institutions such as Galerie Sobering in Paris, Espacio Odeón in Bogotá and OTR Espacio de Arte in Madrid, among others, and his work has been shown in the latest editions of the ARTBO (Bogotá) and ARCO Madrid. He has been awarded the Pilar Juncosa and Sotheby's Prize for Artistic Creation in 2017, and his work is the subject of analysis in the publication Nacho Martín Silva by Juan Francisco Rueda published by Nocapaper in 2016.
The painter Nacho Martín Silva presents at ARCO 2023 his new work Après la fête. The painting takes as a reference a part of the Pompidou Museum's room dedicated to André Breton and his studio, a recurrent image in the work of the Madrid painter. Next to this image he introduces paintings that reproduce the drawings made by his daughter and her school friends at her 5th birthday party. The party was held in Nacho's studio, where the walls were papered and the attendees were invited to intervene the space as they wished. Après la fête belongs to a group of works in which Nacho covers the relationship between surrealism and magical and childish thinking, automatic drawing in childhood versus adult intention. This relationship addressed by surrealism or by the figure of Picasso in his interest to return to painting as a child, raises the impossibility of this adult yearning that is still a copy of the true creative essence of childhood. This reflection could well be connected to the relationship between the models of representation and their pictorial translation, a theme present throughout the painter's work.
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