I would like to state that drawing as a contemporary art practice is not responsible for using the medium to talk about current issues. Instead, drawing as contemporary art tries to push the medium to new boundaries. In that sense, a work of art generally meets three conditions:

1) Art is always about something. In “Ways of Absence”, Adrián White presents a guiding principle: the void as a container. This idea starts a research project around drawing and its possibilities of two-dimensionality and three-dimensionality.

2) Contemporary art must embody that meaning. For Adrián there is a game between the visible and the non-visible. Absence is a symbol whose potential meaning can be observed in all of his studies: from the stones whose perimeters disappear to stress their fractures, to the small volumes of resin and gold leaf that work in the opposite direction; in the use of shadows as absent symbols that destroy and layer each drawing, as well as in their latent strategies of disappearance or intertwining between the two-dimensional and three-dimensional.

3) An art proposal nowadays starts with a critical framework. The works here present are always built in between silences, in both its material and conceptual processes. Making an oxymoron, the artist’s work is reflected in that from which it nurtures: the ideas of Boris Groys, Junichiro Tanizaki or Jorge Luis Borges, and the work of artists such as Roberth Smithson, Joseph Beuys and Cildo Meireles to name a few. Adrián communicates in silence.

Luis Calvo Zanbria

Our gallery, “La Miscelánea” ―the miscellany― is a multidisciplinary platform whose exhibits go from pictorial work to fashion shows and industrial design exhibitions.

Besides working as a spot to show students work―La Miscelánea has served as setting for artists such as Vicente Rojo, Héctor Esrawe, Alejandro Lo Celso, Germán Montalvo and Alberto Ibáñez among others.