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"Renovations", Raúl Díaz Reyes
May 29th to July 12th


Renovations

Hey NYCs a swinging place

thru which Dracula cab driver
glides over rainslicked streets in a black car
talking about Dracula
“most people see horror- I see it as a LOVE story,”
his black face bathed Green in the flourescent advertising
that spills from the buildings thru the drivers side window


not tonight she said. I can’t.
these sheets are Ralph Lauren
rather lets talk about the Macguffin
at the end of the movie the chip that all the spies are after
is a piece of shit
but the whole movie happened for the chip
Macguffin on the sidewalk saying “I was never here”
just a plot device who takes three steps over flourescent markings
and slips into a crack in the sidewalk

all of the construction
the renovation
the transfers gated off with straps of orange vinyl
flourescent men popping out of holes in the ground
the paper blown about in the wind
the buildings in flux trying to hide
that there is no Sasquatch-
are no UFOS.

The city is a clock
counting down from five months.
Paper wrappers- peeled away

In Spain I was George Costanza
In New York I am Art Vandelay
In a speakeasy with a copper bathtub

The neon sign blinks

<< A >>
<< T >>
<< M >>

stroke/stroke/stroke
Back to brushstrokes

City built up and torn down and built up
Like a drawing like cut and paste like layers
like clocks

10,000 good and bad shows and always finding Hanna or Sameer,
or always finding Ikea furniture

I’m a swinging vandelay
/swing space

©Raúl Díaz Reyes, text developed with Max Stolkin.



Bio/
Raúl Díaz Reyes has exhibited in Spain, Germany, U.S.A, Mexico and Brazil at numerous galleries, institutions and international art fairs, including José Robles Gallery, Madrid; +R Gallery, Barcelona; Emma Thomas Gallery, São Paulo, Lower Manhattan Cultural Council, New York; Matadero Madrid, Madrid; Casa das Caldeiras, São Paulo; ARCO, Madrid; SP-Arte, São Paulo, VOLTA, Basel.
Over the last year, Díaz Reyes has worked on pieces that combine the use of spray and conventional painting, often taking over on the stand that supports the work. In doing so, he seeks to objectivise drawings and paintings, rethinking their language and linking it to the processes of change and renovation he observed in New York City during a residency with the Lower Manhattan Cultural Council.
The press release is part of the series and works as a diaristic memorandum of the artist’s time in New York where this new series originated.