Nacho Martin Silva

Nacho Martín Silva - Pos (t) kärd 8

Biografía del Artista: Nacho Martín Silva's work revolves around a painting projected from concerns linked to concepts such as the fragmentary, the simulacrum and representation or the verisimilitude. Taking the History of Art and humanity or the creative process itself as axes, Martín Silva maintains a constant concern for how to confront the underlying theme through painting, which results in a polysemic work that takes different directions in its formalization. Nacho Martín Silva has a degree in Fine Arts from the Complutense University of Madrid, the city where he lives and works. His most recent individual projects include Il futuro non è ciò che era, curated by Tolo Cañellas, at Box 27 (Palma), Tirar del hilos hasta quedará ciego (Tug of the Thread Until I Get Blind) at JosédelaFuente (Santander) in 2017, and El Gran Estudio (The Great Studio), curated by Ángel Calvo Ulloa, at the Centro de Arte de Alcobendas (Madrid) in 2016. He has participated in group exhibitions in museums, galleries and international institutions such as Galerie Sobering in Paris, Espacio Odeón in Bogotá and OTR Espacio de Arte in Madrid, among others, and his work has been shown at the latest editions of the ARTBO (Bogotá) and ARCO Madrid fairs. He was awarded the Pilar Juncosa and Sotheby's Prize for Artistic Creation in 2017, and his work is the subject of analysis in the publication Nacho Martín Silva by Juan Francisco Rueda published by Nocapaper in 2016.

Pôs(t)kärd uses postcards as a model in which the ideal family model that Spain imported from the United States after the Second World War is represented. This family model responded to the needs of the market to create new consumers and new forms of production. In the 1960s, Spain, with its newly established diplomatic relations with the United States and the need to renew its image in the international community, imported the family model of the so-called American Way of Life through reproductions on postcards and American publications such as Life in Spanish, which reached Spanish society alongside the American military bases that were established throughout the country. The translation of the image from these postcards into Martín Silva's painting results in a set of independent pieces of different natures that are articulated together, highlighting the problems involved in looking at an image and, even more so, translating it to make it one's own; bringing to light issues related to plausibility, generational disconnection and, ultimately, everything that is artificial in any canon or model that is offered to us as an ideal. The title of the series, written according to the phonetic transcription of the English word postcard, alludes to the complex system of customs and habits that are necessary to make a meaning one's own. In this case, that of a family model that is alien to the circumstances and particularities of the place where it is intended to be established.