Dora Salazar


Mi Colección de Arte Contemporáneo

December 3rd · 2021 / February 11th · 2022


In this sequence of objects presented, the end has never been important, but rather the constructive process. As the long-distance runner that I am, the interest does not lie in crossing the finish line, since there is always another one, but in the very action of running, travelling, reviving, reusing or reconstructing, with this idea this range of images is woven together. Classical pieces where the pedestal takes centre stage, like the frame of the painting, as a podium from which to be heard.

M.C.A.C. Mi Colección de Arte Contemporáneo, is the title of the new exhibition by Dora Salazar, Alsasua 1963, at Arteko. The artist from Navarre, who has not exhibited in this gallery since 2017, presents on this occasion works linked to the street work she has been doing since 2011. It is a large collection of small and medium-sized sculptures, pieces that she calls salon pieces that recover the historical memory of gender where the content is redefined beyond the work itself, recovering the idea of the monument. Classical pieces where the pedestal acquires prominence, like the frame of the painting, as a podium from which to be heard.

The materials are dense and very heavy: cements, solid bronzes and wood, the opposite of the artist’s more interior works. Both in their aesthetics and their weight they are detached from this fast, fleeting, liquid world, as if they wanted at all costs to remind us of their presence. We see a gradual corporealisation towards the material of classical forms and how the artist has decided to dispense with a marked and recognisable aesthetic, to give rise to more sober and emphatic pieces, identifiable with the history of statuary and the tradition of the monument. In her identification with classical or figurative sculpture, Salazar introduces cultured quotations with references to the monumental character and the use of noble materials, following traditional canons.

“Entrelazar” as the title that unites my career and links the public sculpture pieces with the interior ones (from the gallery), like a game of intuited relations, a hopscotch where chance allows you to continue from where you are: from the front or from the back”

As for the busts made of copper wire in the form of braided bodies, there is an interest in scale and human structure that has an impact on the reflective part. Obviously we recognise these female figures, but their inner emptiness reveals the mystery of a body trapped by a fine weave of thread. The pieces simulate a copper skin with irregular surfaces that reflect a manual construction. The idea of order and the search for a canon are also present in these apparently more fragile pieces, which, as in her drawings, serve the artist to raise questions and give rise to new works. In these pieces the artist becomes more personal, redefining femininity with a more autobiographical character and personal maturity.
Her pieces have great visual impact and manifest a deep concern for women and femininity.