Opening invitation

Opening invitation

"Transition Chart", 2018. Ink on paper and LSD, 65 x 65 cm. Photo: Pedro Laguna

"Transition Chart", 2018. Ink on paper and LSD, 65 x 65 cm. Photo: Pedro Laguna

Installation view.

Installation view.

Exhibition opening.

Exhibition opening.

"Noise", 2019. Digital printing, variable measures.

"Noise", 2019. Digital printing, variable measures.

Installation view.

Installation view.

"The Invention of the Wheel", 2019. Ink on paper and plastic eyes. 40 x 29,5. Photo: Pedro Laguna

"The Invention of the Wheel", 2019. Ink on paper and plastic eyes. 40 x 29,5. Photo: Pedro Laguna

Installation view.

Installation view.

"Abyss," 2019. Ink on paper. 40 x 29,5 cm. Photo: Pedro Laguna

"Abyss," 2019. Ink on paper. 40 x 29,5 cm. Photo: Pedro Laguna

Installation view.

Installation view.

"Girl Stuff", 2019. Ink on paper. 40 x 29,5 cm. Photo: Pedro Laguna

"Girl Stuff", 2019. Ink on paper. 40 x 29,5 cm. Photo: Pedro Laguna

Installation view.

Installation view.

"The Triumph of Nature," 2019. Ink on paper. 40 x 29,5 cm. Photo: Pedro Laguna

"The Triumph of Nature," 2019. Ink on paper. 40 x 29,5 cm. Photo: Pedro Laguna

Installation view.

Installation view.

"My Daily Walk", 2019. Ink on paper. 40 x 29,5 cm. Photo: Pedro Laguna

"My Daily Walk", 2019. Ink on paper. 40 x 29,5 cm. Photo: Pedro Laguna

Installation view.

Installation view.

Sculptural installation "Nexo", 2020. Mirrors, stuffed rooster, artist's hands cast in plaster, candles and opium leaves. 84 x 87 x 40 cm.

Sculptural installation "Nexo", 2020. Mirrors, stuffed rooster, artist's hands cast in plaster, candles and opium leaves. 84 x 87 x 40 cm.

Antonio de la Rosa with his sculptural installation "Nexo", 2020.

Antonio de la Rosa with his sculptural installation "Nexo", 2020.

Detail of the sculptural installation "Nexo", 2020. Mirrors, stuffed rooster, artist's hands cast in plaster, candles and opium leaves. 84 x 87 x 40 cm.

Detail of the sculptural installation "Nexo", 2020. Mirrors, stuffed rooster, artist's hands cast in plaster, candles and opium leaves. 84 x 87 x 40 cm.

Scultural installation "Desiderium", 2020. Branches, ropes, thread and fabric with print and the artist's blood stains. 240 x 100 x 100 cm.

Scultural installation "Desiderium", 2020. Branches, ropes, thread and fabric with print and the artist's blood stains. 240 x 100 x 100 cm.

Detail of the sculptural installation "Desiderium", 2020.

Detail of the sculptural installation "Desiderium", 2020.

"Bigsize God", 2020. Ink on paper. 103 x 66 cm.

"Bigsize God", 2020. Ink on paper. 103 x 66 cm.

Installation view.

Installation view.

Archetypes for a New Pagan Mythology

Antonio de la Rosa

from February 25, 2020 to June 23, 2020

Archetypes for a new pagan mythology, perhaps it is only a handful of graphic ideas that blur the fortified structure that sustains us and that, although seemingly merciless, they yearn to reconcile the individual in spite of their own construct.

Each piece, autonomous, works as an interpretative model that, like a tarot card, invites everyone to identify its meaning.

ANTONIO DE LA ROSA (Spain, 1970)

His artistic career is included within the underground scene, far from the world of galleries and the art market and closer to independent and alternative spaces. As the artist himself indicates, "my ideas must walk on controversial ground and I suppose that some will find it provocative".[1]  His drawings and actions His drawings and actions stand on the threshold between the legal and the illegal, the moral and the immoral, innocent laughter and acid criticism. This frontier space that his work occupies has led him to encounter censorship, prohibition and rejection on various occasions. [2]

In 2004 he carried out a project, which was part of a festival dedicated to performance, and which was presented at Casa de América. Antonio de la Rosa, rejecting the protagonism of artists in performances, decided to turn the public into the centre of the show, making them face a table with 25 grams of cocaine. The audience was responsible for the development of the action, which consisted of the consumption of cocaine in public, recorded by a video camera, which also projected the image in real time in another room of the Casa de América palace.[3]

In 2005, he carried out another project in Mexico, entitled 2 tetas y un fracaso (2 tits and a failure), on the subject of feminicide. Without having been in Mexico or knowing Ciudad Juárez, Antonio de la Rosa decided to undergo an intervention to implant silicone prostheses in his chest, thus trying to reverse his male position and experience the violence in Ciudad Juárez from the female point of view. The two surgeries were performed in Mexico and he did not undergo the removal of the prostheses until the project, which lasted six years, was completed.

According to the artist himself, "when I decide to introduce drugs into a proposal or perform a physical transformation, which I have only done on one occasion, it is motivated by the meanings it condenses and not by the search for hedonistic self-satisfaction".[4]

A publication by Antonio de la Rosa, edited by CANADA EDITORIAL, will soon be presented at Freijo Gallery. This publication consists of a compilation of drawings that he has done in recent years, some of which have been shared through social media. 

2018                  
Transition Charts, Nadie Nunca Nada No, Madrid, Spain
ANIMATECNO, rave action, Faculty of Fine Arts, Complutense University, Madrid, Spain
Huele a Tu Rebaño, Palacio de los Bursa, Durango, Mexico.
2017                       
CHUFI-FEST. Three actions within the Hybrid Art Fair, Madrid, Spain
A Non-Transcendent Monument, Y Gallery, New York, USA
2016                       
Me Mola Mogollón, Sala Julián Camarillo, Radio UNAM, Mexico City, Mexico
2014                       
Collaboration with Artemio Narro in the production of the feature film Me quedo contigo
2011                       
Week-end, Pasage Souterrain, Paris, France.
Project Juárez, Matadero, Madrid , Spain
Project Juárez, Museo de Arte Carrillo Gil, Mexico City, Mexico.
To be or not to be an outlet, Galería Compra Oro, Madrid, Spain.
2008                     
Xubilee, DF Arte Contemporanea, Santiago de Compostela, Spain.
Intermediate habitat, Noche en Blanco 2008, Madrid, Spain
2007                     
Hatsitu, Total liquidation, Madrid, Spain.
2006                     
Triple X, Alba Porn Cinema, Madrid, Spain
2004                     
No smoking, Casa de América, Madrid, Spain.
Top-manta at ARCO, Stand The Art Palace ARCO 04, Madrid.
Master Lesson, The Art Palace, Madrid, Spain.
2005-2011             
Realization of the project 2 tetas y un fracaso, Mexico
2003                        
I don't love you, solo exhibition at Studio 2, Kunstlerhaus Bethanien, Berlin, Germany.
1998/1999             
Two rhombuses, Garage Pemasa, Madrid, Spain. Installation made after a censorship by the Community of Madrid, in which he questioned the paradise of childhood and family.



[2] El País published in 1998 an article on the censorship of Antonio de la Rosa's work in the Sala de Arte Joven of the Community of Madrid. https://elpais.com/diario/1998/07/07/madrid/899810675_850215.html

CV Antonio de la Rosa

Exhibition Overview

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