Flesh Colored Bumps On Legs

If we focus on the concept of "contemporary art space, which began to emerge in the late nineties, it is inevitable to talk about transmission multidisciplinary artistic-research laboratory, production, training, dissemination, and exchange.

With the emergence of places like the Espai d'art de Castello, the slaughterhouse of Madrid, Barcelona CCCB, the Radial System V, Berlin, Rome Attiva Zone ... we realize the money that is suffering the art world, where what matters is the process of creation itself and not the finished work itself same.

are spaces that are transformed and where the interplay between ideas, projects, artists, groups, ... becomes a laboratory in constant turmoil, at a multiartístico which combines both the local as well international character public and private.

is essential the idea of \u200b\u200b"recycling", ie space rescues, readjusting and condition an abandoned building for example, the center of Paris Centquatre old building was the funeral of the French capital. From reconstructed space stands totally different space alternative within the art world as we knew so far.

Which leads me to reflect on art education, is there participation and dialogue outside the visiting specialist? Centers as the Centquatre have been attacked and unfairly branded, supermarket of art or artists as well zoo Palau Paloma says in his article, Centquatre: Alternative to showcase cultural policy in Paris, when what is actually intended to break barriers that for years have been built with prejudice, so, it seems very appropriate and enriching the public be required to build their own learning to promote their experience and not merely consume or contemplate the works exhibited. And most important it is that visitors have access to the process of creation itself.

Equally interesting is the reflection of Jacinta Negus in his article, pain and beauty in contemporary art, about the pain and beauty in our era. How to represent the pain? And beauty? When we are surrounded by chilling images of wars, natural disasters, poverty, etc.. on the one hand, and on the other misleading advertising about the aesthetic value that has been given to the beauty of today.

How to capture and translate something as pain and suffering in the contemporary world, constantly bombarded with desperate and tragic images every day that impact us fleetingly and forget to three seconds because the pain is alien to us. How represent the beauty when we mark and direct us trends and intoxicate us with established patterns. Our society and the media have been destroyed in some way the ability to feel and experience, as well as the element of surprise, we live immunized, we have lost the pure and innocent eyes of a child.

But at the same time, when we Bacon face paintings or Frida Kahlo, among many others, comes to light our innate ability to feel the same pain flesh torn and despair suffered by the artist himself. Similarly we can see a picture of Cy Twombly and flooded in a world of poetic beauty.

Each artist, whether painter, sculptor, writer, etc., Feels and reflects the suffering in different ways, for example Müller pain would become a helpless cry in the stifling atmosphere, while Cioran says that only the ugliness is painless because the beauty germinates and lives harassed and surrounded by the horror.

Thus, Negueruela points in his article that all artists are directed to the other, to the unsaid, what to what the word dumb, for example, Poe terror and beauty, pain and beauty for Bacon, Kafka absurdity and beauty, angst and beauty for Müller .... that is, the pain can be beautiful and painful beauty, comes what might be called "poetic synesthesia.