"Queen in Check", 2020. Photoengraving. Ed. 1/3. 58 x 70 cm.

"Queen in Check", 2020. Photoengraving. Ed. 1/3. 58 x 70 cm.

"Queen in Check", 2020. Still of HD video. Edition 1 de 3. Duration: 3'40''

"Queen in Check", 2020. Still of HD video. Edition 1 de 3. Duration: 3'40''

"Korai", 2020. Five sculptures. Ceramics (glazed stoneware). Various measures, of approximately 23 x 10 x 10 each.

"Korai", 2020. Five sculptures. Ceramics (glazed stoneware). Various measures, of approximately 23 x 10 x 10 each.

"Untitled (to Molinier)", 2020. Installation of 20 photographs. Pigmented inks on baryta paper. 112 x 112 cm.

"Untitled (to Molinier)", 2020. Installation of 20 photographs. Pigmented inks on baryta paper. 112 x 112 cm.

Detail of "Untitled (to Molinier), 2020. Pigmented inks on baryta paper. 19 x 12 cm.

Detail of "Untitled (to Molinier), 2020. Pigmented inks on baryta paper. 19 x 12 cm.

Detail of "Untitled (to Molinier), 2020. Pigmented inks on baryta paper. 19 x 12 cm.

Detail of "Untitled (to Molinier), 2020. Pigmented inks on baryta paper. 19 x 12 cm.

"Untitled (The Wound)", 2020. Installation. Red gauze and ceramics (stoneware and glazed porcelain). Variable measures, of approximately 280 x 200 x 200 cm.

"Untitled (The Wound)", 2020. Installation. Red gauze and ceramics (stoneware and glazed porcelain). Variable measures, of approximately 280 x 200 x 200 cm.

Detail of "Untitled (The Wound)", 2020.

Detail of "Untitled (The Wound)", 2020.

"Untitled (Nocturne)", 2020. Chinese ink on Japanese paper. 280 x 96 cm.

"Untitled (Nocturne)", 2020. Chinese ink on Japanese paper. 280 x 96 cm.

"Untitled (Vanitas 1)", 2020. Ceramics (glazed stoneware). 7 x 46 x 27 cm.

"Untitled (Vanitas 1)", 2020. Ceramics (glazed stoneware). 7 x 46 x 27 cm.

"Untitled (Vanitas 2)", 2018. Ceramics (glazed stoneware). 8 x 24 x 16 cm.

"Untitled (Vanitas 2)", 2018. Ceramics (glazed stoneware). 8 x 24 x 16 cm.

"Untitled (Vanitas 4)", 2020. Ceramics (glazed stoneware). 7 x 32 x 24 cm.

"Untitled (Vanitas 4)", 2020. Ceramics (glazed stoneware). 7 x 32 x 24 cm.

"Mirror 2", 2020. Ceramics (glazed porcelain). 43 x 24 x 2 cm

"Mirror 2", 2020. Ceramics (glazed porcelain). 43 x 24 x 2 cm

"Untitled (Vanitas 3)", 2018. Ceramics (glazed stoneware). 7 x 64 x 18 cm

"Untitled (Vanitas 3)", 2018. Ceramics (glazed stoneware). 7 x 64 x 18 cm

"Untitled (About the Fading of Beauty)", 2020. Make-up powder, petals and oval framed photography. Pigmented inks on baryta paper. Variable measures.

"Untitled (About the Fading of Beauty)", 2020. Make-up powder, petals and oval framed photography. Pigmented inks on baryta paper. Variable measures.

"Suspended Life (About Ashes)", 2016. Photography. Pigmented inks on Hahnemühle Photo Rag Baryta paper. Ed. 1/3. 90 x 135 cm

"Suspended Life (About Ashes)", 2016. Photography. Pigmented inks on Hahnemühle Photo Rag Baryta paper. Ed. 1/3. 90 x 135 cm

"Mirror 1", 2020. Ceramics (stoneware and porcelain). 56 x 32 x 5 cm

"Mirror 1", 2020. Ceramics (stoneware and porcelain). 56 x 32 x 5 cm

Queen in Check

Laura Torrado

from September 10, 2020 to October 31, 2020

Laura Torrado (Madrid, 1967) is a multidisciplinary visual artist. As Mariano Navarro wrote for her retrospective exhibition The Natural Darkness of Things, "the origin and principles that govern many of her compositions, and even the scenography of her performances, are fundamentally sculptural, even though the reiteration in the use of photography might make one think otherwise". [1]
Laura's artistic work stands out for its corporeality, for a representation of the female body which, as Amelia Jones indicates, “does not strive toward a utopian redemption but, rather, places the body/self within the realm of the aesthetic as a political domain.” [2]

In Queen in Check Laura presents recent work. The artist brings us closer to a feminine eroticism through sensoriality, questioning the cultural stereotypes established around corporeality and its manifestations. Based on works like Ecstasy (Gustav Machatý, 1934) or Pierre Molinier’s self-portraits (ca. 1960), she visually and conceptually reinterprets the contents in an open and suggestive way, offering different readings.
The exhibition is conceived as a site-specific work, presenting three installations, among other works. Through photography, video, porcelain pieces, gouaches on Japanese paper and a notebook, as documentation, Laura creates evocative images, which are the components of this exhibition. 


[1] Mariano Navarro, “La oscuridad natural de las cosas”, exhibition catalog Laura Torrado. La oscuridad natural de las cosas. Obras 1993-2013 (Madrid: Sala Canal de Isabel II, 2013), p. 9

[2] Amelia Jones, Body Art: Performing the Subject (Minneapolis; London: University of Minnesota Press, 1998), p. 13.


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