You have a network of accomplices, as you call it. What names or institutions can you mention at the moment that are enthusiastic or already collaborating with you?
Kancha, in Chile, Solo Houses in Delta del Ebro, Pi in Costa Rica, 3 piedras in Huesca, Fundación Díaz Caneja in Palencia and Vellmari in the Mediterranean. They are our accomplices and we are already reviewing other proposals that we will communicate as they are confirmed.
From the perspective of a gallery owner, what needs and trends do you observe in today’s society with regard to art?
I don’t think even today’s society knows exactly. Outside the professional context, to a large extent, the value of contemporary art as a vital necessity has been lost. A large part of our society uses it as an object of social positioning, another as a purely decorative element, another is unaware of it and only a small part is really interested in it. It probably responds to a generalised loss of curiosity and, of course, to a decrease in economic capacity that can be continually affected by the context. Society consumes a lot of information very quickly, there is no time for reflection and, consequently, there is little space left for contemporary art whose transcendence requires precisely that, curiosity, observation, reflection?
We propose a different approach in which we highlight how contemporary art is a channel, a means of expression that reflects not only what our society is like but also what it is focused on. I believe that contemporary art acts as a creator of the historical record of our cultural heritage while at the same time it projects itself as a creative laboratory from which great ideas and alternatives emerge to everything that is not working in a balanced, harmonious way today, in all aspects of life.