Exhibitions

Two artists, two ways of approaching painting. Diálogos brings together Paloma Redecilla and José Ramón Campomanes. Their works do not resemble each other, and that difference is the reason for the exhibition.

Redecilla works from matter. Her cords, silks, velvets and textures are layered onto the support until the surface stops being a background and becomes the subject. Her work has a tactile, almost artisanal sensibility. What becomes image in Cuerdas, Jardín en seda or her Camelias is the gesture of ordering, knotting and wrapping, more than anything depicted. Thirty years of career, from El Escorial to Paris and from Abu Dhabi to Stockholm, have refined a constant investigation into light and material.

Campomanes starts from landscape, or rather from the memory of it. Oil applied with a palette knife in energetic strokes turns fields, skies and horizons into structures of color and geometry. His titles are hours of the day, months, places: Agosto 21:00, Octubre 19:10, Cielos de Monzón. What he paints is the moment when light changes a space, and how long that light lasts. A painter from León, he left a career in another field to dedicate himself fully to art, and his work keeps that decision: it is direct, luminous and unhesitating.

Both share a commitment to abstraction and a faith in color. Redecilla’s texture asks to be touched; Campomanes’s horizon asks to be seen from a distance. Hung in the same rooms, each work becomes more legible. Her matter gives body to his air, and his calm soothes her murmur.

In The Last Refuge, Héctor Acevedo builds a symbolic bestiary where the human, the animal and the mechanical merge without hierarchy. Winged figures fold in on themselves amid forests of red spheres populated by tiny houses; serpents, dragons and hybrid creatures confront or embrace each other in dreamlike landscapes suspended between falling and flight.

The title of the exhibition condenses his central obsession: the refuge not as a safe destination, but as a gesture — a body that shrinks, a hand that holds, a wing that no longer seeks the sky but a place to fold back into. Acevedo works in series that speak to one another (Alado sin Cielo I and II, Opuestos Complementarios, El Último Vuelo), revisiting the same symbols — serpents, wings, fragmented houses, chromatic spheres — shifting their meaning from one work to the next.

Presented in the exceptional setting of the Pabellón Villanueva, between the nineteenth-century architecture and the greenery of the Real Jardín Botánico, the exhibition proposes a counterpoint: where nature orders and classifies, Acevedo's painting unfolds a universe of unresolved dualities — attack and offering, threat and tenderness, fall and takeoff — that resist any taxonomy.

Materia Plural brings together Sakurasara, Roxana Albanese, Álvaro Peña and Jesús del Peso, artists whose only common denominator is the honesty of their language: gestural painting, sculptural ceramics, black and white photography and metal sculpture coexist in the same space without hierarchies. An exhibition where matter — pigment, clay, metal, captured light — is the true protagonist. Six distinct visions, a single dialogue.