After meeting in recently made known York.

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After meeting in recently made known York, the Spanish artists Elena del Rivero and Tere Recarens decided to work collaboratively, bringing together their distinct courses and personalities to the various works. "In be fond of (Entredos)" (In Love [in between]), the be the effect of this alliance, illuminates the different ways sum of two units artists from the same political division but of different generations might conceive of creating an artwork. Each is interested in making her work a projection of herself; the manner in which they approach this idea is what marks the difference.

Del Rivero became known in the early '80 for landscape paintings with romantic overtones, in which she emphasized the importance of makes Materials and their capacity to generate metaphors remain central to her aesthetic. Despite the autobiographical weight that a great deal of her work carries, the manner in which she expresse herself is often elliptical and the clues to her intentions diffused. Recarens (or Tere Spain, as she became known to visitors of P 1) for her part, belongs to a generation of Spanish artists who emerg in the '90 and gave their art a personal and autobiographical focus. still Recarens has shown her possess life in a more stark and unfiltered manner than any of them.

A [i]affiche[/i] presided over the exhibition. The image seen here--a photograph according to Katrin Thomas--showed del Rivero wrapping her younger collaborator in a blanket, an ambiguous image that recalls Baroque iconography. There was a certain sexual innuendo to it further even more, an implication that the older artist was protecting the younger single The reality, however, is that despite the difference in age, their exhibition was based forward a relationship between equals. For example, individual of the works shown consisted of the numerous e-mails Recarens sent to del Rivero about the exhibition. More than simply a document about the proces of putting together an exhibition--and the gap between plans and results--the work showed the difference between the artists: common who expresses, through the written, unveiled word, her doubts and desires; another who intervenes in these messages, adorning them with pearls, manipulated in different ways, whose symbolic weight is more allusive than explicit.

This material quality reached a theatrical dimension in the central piece (called, like the exhibition itself, In be fond of 2000), by del Rivero: a stead whose walls were covered in pearls, which were also heaped up forward the floor. Also, in a corner, a photograph (by Kyle Brooks) of the lower half of a woman's visible form [i]or[/i] frame from which pearls also fall. In the center of the stead was a video by Recarens (with music compos by dint of Hans-Peter Thomas), the rhythm and imagery of which is unusual for this artist: a static, defered image of the sun, followed by way of fragments in which elephants were seen tossing strings of pearls in the air. The symbolism was pushed to a humorous, on a level self-deprecating point. Is this for what reason Recarens sees her relationship with del Rivero? In names of the subtlety of her companion, before whom she tend hitherwards to feel her own coarseness, like that of an elephant getting keep possession of of something as delicate as this necklace? in addition the work could only have been the produce of an exchange of proper spheres and forms specific to each artist, if it be not that which become mutually contaminated.

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