I was invited as an artist-in-residence in an island in Croatia, and among the eight artists was the painter Metka Krašovec. During our shared time and space, I grew fond of her. Her reserved personality and black humor captivated me. While the guest artists worked publicly in the dining rooms, she worked alone in her room, unnoticed. This simple yet crucial detail was pleasing. Not all artists or scenes allow themselves to be seen; there's inherent privacy in great art that doesn't seek immediate publicity. With this anecdote, a prelude to the ideas I'll develop, I intend to connect not only with a departed colleague but also with the concept of distinction. In those conversations with Metka, I sensed a specific need that exuded an aristocratic glow. In this proposal, I assume that relational forms in art often elevate the work and generate a narrative engine from within. Metka's story holds value, particularly her involvement as a sculptural body in one of my art forms. During that residency, I utilized the old kitchen of the hotel's abandoned restaurant as scenographic decoration for my site-specific art. The photo accompanying this text is one of eight photos comprising the installation, expanding its meaning when viewed through the hyperlink. We collectively agreed to be fore and aft, anchor and rudder in the photographic series. Regardless of our differing legitimations as artists, we were all part of the show; none could stand out or cease being there. The protagonists hold the same weight as the secondary ones. Every aspect is significant.
As a conceptual artist and critic, my specialty lies in developing a curatorial and critical series that values the hidden scenes. I aim to highlight emerging galleries and established museums, intensifying the idea as the arc separating them widens. The curator, besides being a hermeneut, is akin to a hunter, gathering stories and snapshots that bring narratives to life. Thus, my proposal is to utilize artistic forms within the context. Texts derived from the series will be disseminated through media outlets interested in covering live art stories. The methodology is nonlinear, aiming to understand the surface of the local scene by investigating local agents, touring artists' museums, galleries, and ateliers daily. Through photography, videography, and diary entries, I'll compile a critical curatorial series employing the Hegelian formula for synthesis _______ Anto Lloveras, Madrid 2024
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