Cartografías del olvido. Oscar Carrasco – Luis Adelantado Valencia

Nota de prensa/Dossier

 
 
Cartografías del olvido. Oscar Carrasco

 
 

Cartografías del olvido. Room 1. General view
Hospital de San Lucas y San Nicolás, 2013. Pigmented inks Epson UltraChrome K4 on paper. 120 x 150 cm
Palacio de Osuna. Aranjuez, 2013. Pigmented inks Epson UltraChrome K4 on paper. 120 x 150 cm
Hospital de La Barranca, 2013. Pigmented inks Epson UltraChrome K4 on paper. 86 x 150 cm
Cartografías del olvido. Room 2. General view
Hospital de La Barranca, 2013. Pigmented inks Epson UltraChrome K4 on paper. 86 x 150 cm
La Galera. Cárcel de mujeres, 2013. Pigmented inks Epson UltraChrome K4 on paper. 120 x 150 cm
Cartografías del olvido. Room 2. General view
El Palomar de Silillos, 2013. Pigmented inks Epson UltraChrome K4 on paper. 110 x 150 cm
Cartografías del olvido. Room 3. General view
Real Compañía Asturiana de Minas, 2013. Pigmented inks Epson UltraChrome K4 on paper. 150 x 130 cm
Ermita de Polvoranca 1, 2013. Pigmented inks Epson UltraChrome K4 on paper. 120 x 150 cm
Cartografías del olvido. Room 4. General view
Cartografías del olvido. Room 4. General view
Club El Cisne Negro, 2013. Pigmented inks Epson UltraChrome K4 on paper. 120 x 150 cm
Monasterio de Santa María de Valdeiglesias, 2013. Pigmented inks Epson UltraChrome K4 on paper. 145 x 181 cm
Ermita de Polvoranca 2, 2013. Pigmented inks Epson UltraChrome K4 on paper. 130 x 175 cm
Silo, 2013. Pigmented inks Epson UltraChrome K4 on paper. 150 x 236 cm


 
 

Press release

 
 

Luis Adelantado Valencia is pleased to invite you to the upcoming opening of the contemporary art gallery season of the city of Valencia. For this reason, we are pleased to inform that, as a new feature, from now on the openings of our two spaces—Main Space and Boiler Room—will be simultaneous.
We will start with the presentation—in our Main Space—of the second solo exhibition of the artist Oscar Carrasco (Catalonia, 1976) titled Cartografías del olvido.
In the exhibition, an invisible line is traced amongst a multitude of contemporary ruins extolling an outdated modernity. Emblematic buildings which—in the past—witnessed a particular culture, a civilisation, and which now have become a memory. Yet another thread weaving this cartography of oblivion.
There are several common axes amongst the generated images. A certain light that borders on the mystical. A light that becomes the soul of these abandoned urban giants, pierced by silence. Absence is another concept closely linked to oblivion. The lack of human presence directs our attention to these places, making them antithetical to the non-places described by the French anthropologist Marc Augé in what was a distinctive reflection of postmodernism. In Oscar’s own words: “I’m interested in ruins as a criticism of civilisation and the devastating power of human beings, as a reminder of their vanity and failure in the face of time and the environment”