RocioSantaCruz

RocioSantaCruz is a dynamic space for contemporary creation and thought in all its manifestations. Situated in the neuralgic center of Barcelona, the venue showcases projects by both established artists and emerging talents.

True to is trajectory since its creation in 1994 in Paris as a publisher of artists’ books, RocioSantaCruz honors its commitment to highlighting unpublished archives with the aim of sparking a conversation between the avant-gardes of the latter half of the 20th century and new contemporary practices. The gallery is conceived as a place for experimentation, a forum for discussion, and a space for the diffusion of new practices, where particular interest is paid to photography, experimental cinema, and the archive and publication of artists’ books.

Represented artists:

ORLAN, Teresa Gancedo, Pilar Aymerich, Toni Amengual, Colita, Gloria Oyarzabal, Mar Arza, Antoni Campañà, Vari Caramés, Blanca Casas Brullet, Ceesepe, Nicolás Combarro, Jean Denant, Oriol Vilapuig, Pep Duran, Gonzalo Elvira, Andrés Galeano, Marcel Giró, Lluís Hortalà, Ouka Leele, German Lorca, Fina Miralles, Miquel Mont, Marina Núñez, Lois Patiño, Diogo Pimentão, Palmira Puig, Raiña Lupa Ediciones, Miguel Rio Branco, América Sánchez, Montserrat Soto, Miguel Trillo, Sergio Vega

In 'The cosmic bell and the breathing lake', Dionis Escorsa (Tortosa, 1970) critically recovers the nineteenth-century bourgeois landscape imaginary, to elaborate a fictional autobiography framed in the Catalan patriarchal heritage. 

Starting from a painting of the bell tower of Tavèrnoles -a small village near Vic- painted by his grandfather almost a century ago, he has developed -together with Albert Merino- a 3D videomapping that alters in real time the atmosphere of the watercolor and turns it into a clock and a device for meteorological consultation. 

This methodology is expanded -through an immersive installation of large oil-painted panels- to the semi-submerged bell tower of Sau -neighbor and brother of that of Tavèrnoles- whose water level is also projected covering the painting. 

In these and other pieces, Escorsa performs an exercise of stylistic appropriation that allows him to continue painting as if he were his grandfather, seeking to recognize himself not only in his art but also in the devotion he had for astronomy and to discover his own affinities or repulsions with the mystical-religious culture of that time that may still underlie the present.