A single drop

 

I was invited as an artist-in-residence on a Croatian island, where I worked alongside seven other artists, including the painter Metka Krašovec. Over the course of our shared residency, I developed a deep admiration for Metka. Her understated personality, combined with her dark, subtle humor, left a lasting impression on me. While most of us worked in common spaces, Metka quietly withdrew to her room to paint in solitude. This small yet significant choice resonated with me. It exemplified the unspoken privacy and introspection inherent in great art—art that doesn’t seek instant recognition or visibility. 

With this anecdote as a prelude, I intend to weave together my reflections on artistry, privacy, and the sense of distinction that often accompanies profound creative work. Conversations with Metka frequently touched on the importance of an internalized need for this quiet dignity, something that, to me, carried an almost aristocratic essence. Through this proposal, I aim to examine how these relational dynamics within the artistic process elevate the work itself, creating a unique narrative force from within.

Metka's involvement in my work during that residency became significant, as her presence, both as a fellow artist and as a subject, contributed to one of my artistic forms. I transformed the abandoned hotel’s kitchen into a scenographic element for a site-specific installation, and one of the accompanying photographs—part of a series of eight—further expands this piece’s meaning. When viewed in full, the installation explores the duality of presence, with each of us, the artists, acting as both anchor and rudder within the collective. Our differences as creators were acknowledged, yet none were allowed to dominate. Every participant, primary or secondary, held equal weight, reinforcing the idea that in this shared artistic experience, every element matters.

As a conceptual artist and critic, my expertise lies in curating and critiquing the often-overlooked aspects of artistic expression. My curatorial practice is particularly attuned to emerging galleries and established institutions alike, bridging the gap between the two. This proposal seeks to amplify the value of these hidden scenes, underscoring the curator’s role as both interpreter and storyteller. The curator’s task, much like a hunter, is to capture and convey stories, bringing fragmented narratives to life. Through this lens, I aim to present artistic forms embedded within their broader contexts, while also disseminating insights through media outlets that engage with live art narratives.

The methodology for this project will be nonlinear, focused on immersing myself in the local scene and understanding its surface and depth. Through daily visits to museums, galleries, and artists' studios, I will document my findings via photography, videography, and written reflections, ultimately producing a critical curatorial series. The framework for this endeavor will draw from Hegelian dialectics, using synthesis as a means to explore the tension and resolution inherent in art.

Anto Lloveras, Madrid 2024

The "Furry Cup" remains a powerful symbol of how art can interrogate and challenge cultural conventions, particularly in relation to gender and female identity.

Meret Oppenheim, a prominent Surrealist artist, is perhaps best known for her work "Object" (1936), commonly referred to as the "Furry Cup" or "Fur-lined Teacup." This iconic piece consists of a teacup, saucer, and spoon covered in gazelle fur and became a groundbreaking work in both Surrealism and modern art. The piece is significant not only for its surrealist nature but also for its commentary on gender, femininity, and the body. By covering a domestic object (a teacup, typically associated with femininity and the private sphere) in animal fur, Oppenheim subverted societal expectations of what is considered “feminine” or “domestic.” The juxtaposition of a familiar, comforting object with a strange and provocative texture created an unsettling tension between the sensual and the grotesque. Some critics view the piece as a metaphor for the objectification of the female body and the roles imposed on women in a patriarchal society. Although Oppenheim did not consider herself a feminist, her work has been embraced by feminist art critics as a symbol of female empowerment and a critique of gender stereotypes. Her ability to blend everyday objects with disturbing or unusual elements, like fur, placed her work in a space where the boundaries between art, gender, and politics were constantly challenged. Pieces like the "Furry Cup" question domesticity, desire, and the power dynamics that shape women’s experiences.

Marine

 

Agnés Verano