La Casa Encendida presents the winning projects of Generación 2021, an exhibition and competition organised by Fundación Montemadrid to promote artists under the age of 35 and, as in previous years, showcase a selection of works being made on the contemporary art scene.
This year the jury members were Ana Botella, head of public programmes at Wellcome Collection (London); Soledad Gutiérrez, curator of Thyssen-Bornemisza Art Contemporary (TBA21); and Ivan L. Munuera, a freelance critic and curator currently undertaking a PhD at Princeton University.
The eight winning artists and projects are: María Alcaide (Huelva, 1992) with Piel (Carne de mi carne); Lucía Bayón (Madrid, 1994) with I, Stubborness; Javier Bravo de Rueda (Peru, 1989) with Apucllay: juego y duelo; Claudia Claremi (Spain/Cuba, 1986) with Amnesia colonial (estupor); Isabel Marcos (Madrid, 1986) with Arquitectura Mojada; the collective nucbeade, formed by Quiela Nuc, (Madrid, 1990) and Andrea Beade (A Coruña, 1988), with Licencia de amor B y P; Simón Sepúlveda (Chile, 1989) with 1989-2019; and Helena Vinent (Barcelona, 1988) with La prótesis que dirigió al órgano contra sí mismo.
The artists address themes that revolve around individual and collective identity, using their personal experience to explore concepts that challenge the established order.
As the curator of the show, Ignacio Cabrero, says, “The construction of identity always generates implications in the other, whether related to gender and sexuality or the origin of each person. Constructing a specific identity may involve resisting expectations and their attendant prejudices, because many people don’t want to—or simply can’t—live within the boundaries of the established discourse. These people live in the folds and cracks of the hegemonic discourses, shunning standardisation while simultaneously creating new places. And if identity is continually being forged, it must also be something that can be narrated, or shown in some way, like the projects presented by the Generación artists: histories excluded from the official discourses.”
Curator: Ignacio Cabrero