Barcelona, SPAIN . 13th April – 12th May 2012

RAS Gallery
Carrer Doctor Dou 10

Opening Friday April 13th from 7.30 till 10 pm
Exhibition runs from April 13th till May 12th 2012

“In 2007 the Spanish building industry used 54.2 million tones of cement. This factoid did not escape the thoughtful attentions of one very interesting Galician digital nomad, namely Isaac Cordal. Cordal saw this frenzied ‘cementisation’ of the world around him as evidence of our deep alienation from an ongoing conflict with the natural environment. So, being an artist very much obsessed with the problem of the human body Cordal appropriated cement as the tool for his own intervention in the built environment. What this means in laymen’s terms is that he used cement to make his art and in this case his art was sculptures of little people.” — Gary SHOVE

“Blink and you’ll miss it. Turning the urban landscape in on itself with installations that are almost to subtle to be noticed while passing by in an individualistic frenzy, Isaac Cordal uses the grey functionality of cement to question the lack of colour and vibrancy in so much of our lives through his tiny figures.” — STREET ART UTOPIA

“Creator of a tiny community of cement sculptures hidden and isolated around the city, Isaac Cordal invites us to reflect on the sad state of the world through his art. It holds a mirror up to society by recreating scenes of our everyday modern life reminding us of the numb passage of time, the overwhelming influence of consumerism and elimination of nature. Keep your eyes open!” — STREET ART LONDON

About the SHOW

On Friday April 13th RAS Gallery housed the opening of Isaac Cordal’s latest collection of works presented by SUBEN and curated by Maximiliano Ruiz. A varied group of folk gathered to the call of street art and free beer including some of the finest noses around trained in the field (at least 5 dogs attended accompanying their masters).

The new collection of Cordal found a challenge adapting to the gallery format, given that the small cement sculptures seem more at home in the streets, the context that the artists chooses to document them. Nevertheless, the irony and depth of the message transcends the context and, in fact, creates it itself by the presence of installations conformed by groups of the individual sculptures and other attrezzo elements.

The social and cultural critique are evident to the max at the vision of a suicidal sculpture that chose to leap into the void, leaving its pedestal empty.

Artworks preview

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