Recap: Siete Mares and De Cabezas y Náufragos
Diversity is one of the defining factors of metropolitan cities. With 3.5 million residents, Madrid is no exception. In Chueca (The Mad City’s version of the West Village in New York, or the Castro in San Francisco) two simultaneous exhibits, Santiago Martinez Peral’s “De Cabezas y Náufragos” and Lleana Sánchez Hing’s “Siete Mares” at Galería Begoña Malone both explore this theme.
De Cabezas y Náufragos, which translates to “Heads and Castaways”, mainly consists of a room full of heads, isolated from the bodies and painted in a colorful yet realistic manner. People often say “a sea of lonely people” when describing New York City, hoards of people surrounded by others and yet still lonely. This is the case in many urban cities. The isolation of the heads, varying in color, but more similar than different, mimics that city-crowded-yet-isolated feeling.There is also a painting upstairs which more literally depicts castaways cooking over a fire, perhaps two people that have escaped the city?
The second exhibit, Siete Mares, which translates to Seven Seas, is held in a smaller room in the basement floor of the building. The exaggerated “primitive” paintings are hung among candles, incense and bright red walls. The environment emphasizes the differences between the academic art world and that of indigenous art, and displays them in a manner meant to make the viewer reflect upon why it is that the art world seems to patronize and condescend this form of art.