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Avelino Sala España, 1972

The aesthetic —that also have a strong ethical— raised by Avelino Sala throughout his career articulate a discourse certainly personal, coherent, and yet complex in their readings and their looks.

The diversity of mechanisms employed and expressive languages, which include among others the video, sculpture, photography, neon, drawing or plural world of objects, keeps his (coherent) idea of art but at the same time complex on the diversity of views.


Las estéticas —que también tienen una fuerte ética—planteadas por Avelino Sala a lo largo de su carrera articulan un discurso ciertamente personal, coherente, pero complejo en sus lecturas y miradas.

La diversidad de mecanismos empleados y lenguajes expresivos, que incluyen entre otros el video, la escultura, la fotografía, el neón, el dibujo o el mundo plural de los objetos, mantiene su idea (coherente) del arte pero al mismo tiempo compleja en la diversidad de miradas.

Avelino Sala (Gijon, 1972) is an artist, curator and editor (Sublime magazine) and writes in media such as Artishock ,desk, etc
Lives and works in Barcelona.
Avelino Sala's work as an artist has led him to question cultural and social reality from a late romantic perspective, with a continuous exploration of social imagery. His work strives to check the power of art as an experimental space capable of creating new worlds. His work has been presented in various international exhibitions, among the latest: (2013 S.O.S) Es Baluard, Palma de Mallorca, (An Essay on culture 2013), NCCA, Moscow, (Distopia:right now) 2012 Museum marble of Carrara, (Funeral Pyre 2012) Matadero, Madrid, (Cacotopia 2011), First Screen, La Pedrera (AUTRUI 2011) Centre Dart Le Lait Grahulet, France, (Block House 2011), (Galeria Raquel Ponce, ARTIUM (stop! 2010), Royal Academy of Spain in Rome, (Fatherland or Morte! 2010), Virgil de Voldere gallery, New York, (hostile 2009), National Museum of art Sofia (International Reencontres, 2009), Queen X Bienal de la Habana, (Comunicacionismos, 2009), A Foundation, London (Off the Street, 2009), Insert Coin, Spanish Young Art, October Contemporary, Hong Kong 2009) or Tina B Biennale Prague, (Small Revolutions 2008) or The Promised Land (Chelsea Art Museum, 2008). Generation 2003 by CajaMadrid award. Sponsored among others by Hangar and Bilbao art. In 2010 was a fellow of the Royal Academy of Spain in Rome and the centro de arte Le Lait of Albi in France.




As an Axe
Gold chrome ax and tennis ribbons
45x15x5 cm
Ed 5 + 1 dc

As an Axe
Plantea la formalización del poder a través de un objeto intrínsecamente "violento" como un hacha, la cual es recubierta con una bandera como elemento simbólico.
En esta serie de piezas nacionales, la asociación del objeto con la bandera genera una representación directa, asociando violencia y nacionalismo.
Un hachazo es un golpe mortal, una manera de generar miedo, dolor o de dejar claro "quien manda aquí". La bandera a su vez esta siendo desactivada de su función nacionalista primaria, dando con ello una lectura mucho menos plana y abierta a nuevas posibilidades.
Las políticas represoras de Estados Unidos en muchos casos son racistas, machistas, homófonas y hasta exterminadoras (indios americanos). En As an AXE se concentran y concretan en este objeto que no deja de ser una herramienta para talar, cortar, desmembrar, separar.
Una realidad persistente que seguimos observando a pesar de la “evolución” de nuestras democracias. En este caso particular la era Trump nos ha dejado ver que las estrategias de ultraderecha están a la orden del día.

As an Axe
It proposes the formalization of power through an inherently "violent" object such as an ax, which is covered with a flag as a
symbolic element.
In this series of national pieces, the association of the object with the flag generates a direct representation, associating violence and nationalism.
An axe blow is a fatal blow, a way of generating fear, pain, or making it clear "who's boss here". The flag in turn is being deactivated from its primary nationalist function, thereby giving a much less flat reading and open to new possibilities.
The repressive policies of the United States in many cases are racist, sexist, homophobic, and even exterminating (American
Indians). As an AXE concentrates and specifies the object, which is still a tool for felling, cutting, dismembering, separating.
A persistent reality that we continue to observe despite the "evolution" of our democracies. In this particular case, the Trump era has let us see that ultra-right strategies are the order of the day.



China as a hammer
Chromed gold hammers and tennis ribbons
23 x 30 x 5 cm
Ed 5 +1AP
2018

China as a hammer
It proposes the formalization of power through an inherently "violent" object such as an ax, which is covered with a flag as a symbolic element.
In this series of national pieces, the association of the object with the flag generates a direct representation, associating violence and nationalism.
An axe blow is a fatal blow, a way of generating fear, pain, or making it clear "who's boss here".
The flag in turn is being deactivated from its primary nationalist function, thereby giving a much less flat reading and open to new possibilities.
The repressive policies of the United States in many cases are racist, sexist, homophobic, and even exterminating (American Indians).
China as a hammer concentrates and specifies the object, which is still a tool for felling, cutting, dismembering, separating.
A persistent reality that we continue to observe despite the "evolution" of our democracies.
In this particular case, the Trump era has let us see that ultra-right strategies are the order of the day.



Russia as a hammer
Chromed gold hammers and tennis ribbons
23 x 30 x 5 cm
Ed 5 +1AP
2018



EU as a hammer
Chromed gold hammers and tennis ribbons
23 x 30 x 5 cm
Ed 5 +1AP
2018



U.S.A as a shield, 2017/2020
Police shield intervened with the colors of the US flag
90 x 60 x 30 cm

USA, as a shield
Through Action Riot Paintings, pieces that make up a review of action painting, informalism, gestures and a tradition linked to political art, Sala creates sculptures with riot shields on which flags of deconstructed countries are presented.
The United States is presented as a shield in which migratory flows bounce, rights are curtailed, and voices are silenced with police violence.
A police shield painted and vandalized in a sculptural way.
An impenetrable state that does not allow the voices of protest to be raised, that silences them. A supposed democracy behind its protective shields, which perhaps is not really such.
A democracy that stifles freedom of expression and urges to be rebuilt.
A wall erected by Trump that is a shield in itself, where rejection, racism and intolerance are evident. In this moment of collapse by COVID-19, the shields and axes as (ultra) national flags, with their reflections and brightness, only make evident the cracks of an overwhelmed, deranged world, where the other is not welcome, and this virus of the intolerance is not the only one, and it truly knows borders.

USA, un escudo.
A través de las Action Riot Paintings, piezas que conforman una revisión del action painting, del informalismo, del gestualismo y de una tradición vinculada al arte político ,Sala realiza unas esculturas con escudos antidisturbios sobre los que se presentan banderas de países deconstruidas.
Estados Unidos es presentado como un escudo en el que rebotan los flujos migratorios, los derechos son cercenados, las voces son acalladas con violencia policial .
Un escudo policial pintado y vandalizado de forma escultórica.
Un estado impenetrable que no deja alzar las voces de protesta , que las silencia. Una supuesta democracia detrás de sus escudos protectores, que quizás en realidad no es tal.
Una democracia que acalla la libertad de expresión y urge de ser reconstruída
Un muro levantado por Trump que es un escudo en si mismo, donde el rechazo, el racismo y la intolerancia se hacen patentes.
En este momento de colapso por EL COVID-19, los escudos y los hachas como banderas (ultra)nacionales, con sus reflejos y brillos, solo hacen evidentes las grietas de un mundo sobrepasado, desquiciado, donde el otro no es bienvenido, donde el virus no es solo uno, y este virus de la intolerancia si que conoce de fronteras.



Democracia, 2019/2020
Sound absorbing material (Unique piece)
Variable measures
350 x 120 x 5 cm

Democracy by Fernando Gomez de la Cuesta
The consistent artist is fully aware of the critical point in which we are plunged, a continuous back and forth between the expectations of utopia and the flagrant shock of dystopia, a moment of economic cycle breaking where all kinds of terrorism are used as an instrument. of coercion, a time of social injustice and the annulment of ways of thinking that differ from the globalized and globalizing dogma. The piece by Avelino Sala entitled “Democracy” (2014) is a clear example of this, a work that points to a quarantined system, an absolute questioning of its reality and its efficiency. A useless wall of lamentations that extinguishes our cry where we can vent without result, in any case a simple and devastating metaphor about a concept that is constantly emptied of content, of which almost nothing remains, a work that starts from intelligence, sensitivity and irony to offer us another vision, the unusual one, the one that decides to turn things around, that interstitial look that is installed in the crack, that sneaks through the cracks of the stone structure of power with the intention of questioning it and , if they let you, grind it down and demolish it.

Democracy por Fernando Gomez de la Cuesta
El artista consecuente es plenamente consciente del punto crítico en el que andamos sumidos, un continuo ir y venir entre las expectativas de la utopía y el flagrante choque de la distopía, un momento de ruptura de ciclo económico donde se usa todo tipo de terrorismo como instrumento de coacción, una época de injusticia social y de anulación de las formas de pensar que difieren del dogma globalizado y globalizador. La pieza de Avelino Sala titulada “Democracy” (2014) es un claro ejemplo de ello, una obra que señala un sistema puesto en cuarentena, un cuestionamiento absoluto de su realidad y de su eficiencia. Un inútil muro de las lamentaciones que apaga nuestro grito donde desahogarnos sin resultado, en todo caso una sencilla y demoledora metáfora sobre un concepto que se vacía de contenido constantemente, del que casi no queda nada, un trabajo que parte de la inteligencia, la sensibilidad y la ironía para ofrecernos otra visión, la no usual, aquella que decide darle la vuelta a las cosas, aquella mirada intersticial que se instala en la grieta, que se cuela por los resquicios de la pétrea estructura del poder con la intención de cuestionarla y, si le dejan, desbastarla y demolerla


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