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2020

Digital prints.

“The sea over Spain”

“The sea over Italy”

“The sea over Germany”

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Eduardo Palomares
Eduardo Palomares
Eduardo Palomares

Without a name, without coast, 

without relief, without plain…

Just a few remember, 

almost none was there. 

Maybe it never existed,

maybe it was all a lie lost among a thousand of blue papers.

From here, from there... from when it was a here,

and a whole. 

Maybe we were never a whole.

The line that united the sea is the same

one that now breaks it.

Perhaps is the sea that whole? 

Water…

Another forgetting of wet illusions.

The water is blue.

It is  not!

yes!

no!

yes!

EUROPE!

Eduardo Palomares

The sea over Europe

pilgrimages to nowhere

DUOMO

Eduardo Palomares
Eduardo Palomares

Federico García Lorca's writing of his suffering in the most insignificant spaces of New York City, makes me be an artist.

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Eduardo Palomares

2020

Eduardo Palomares

Digital prints. 

“Pilgrimage to nowhere, Milan”.

“Duomo in blue”

“Duomo in Purple”

 “Pilgrimage to nowhere, NY”

2019
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Eduardo Palomares
Eduardo Palomares
Eduardo Palomares
Eduardo Palomares
Eduardo Palomares

Paths are the representation of the movement of someone through a place. In these digital prints two paths are shown, they both come from google maps data which gives to each user the possibility to see on the map where he or she has been. The ephemeral act of walking becomes information and is used by the artist to show his personal ways, exposing where he has been and when, he creates a series of pilgrimages which talk about how we understand maps, the movement of humans, and how we expose our information to be controlled.

Series of screenprints: 

 "2.02.2019 Milan: Garbagnate Milanese - Via Varese -Porta Garibladi - Restaurant Pizzeria Maruzzela - Istituto dei ciechi di Milano."

"2.01.2019 Madrid: Calle la Cañada - Av. Leganés Mcdonald´s - Calle Aliso, Aldea del Fresno."

2019

Walking I found various forms of thinking, of people, groups and subgroups, forms of walking, of shouting and speaking, of looking and observing. Experiences in forms ... form ... yes, again form. The form over here the form over there. I love the form, I am excited about movement, I would like to be formed and not be silent.

 

Well, I was saying… the form in which I walked, in which I spoke of time, of the ugly sculpture in the museum square, the form lost me between avenues where I found questions and architects, tiles and the ground, terraces and sky, “cañas” and Malasaña, Aperol and Sara, my way.

 

Yes, I am that walking that speaking, conversing, criticizing, that looks and admires, drinks and dances, I am the “Reina Sofia”, “La Argumusa”, I am the perfect form of the ANTI-FORM, I am the movement, and today, I am not.

16.06.2016

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Eduardo Palomares

Maps have been used by humans to describe places, organize territories, borders, define paths, and understand where we live and how.

Today the big technology companies organize our daily life in different fields, and where we have been, is the information of their studies and control.

Eduardo Palomares

June and May 2016. A series of 16 drawings in where I have walked. 2018. 21 x 29,5

Junio 2016. 06.01.2016 06.02.2016 06.03.2016 06.03.2016 06.04.2016 06.05.2016 06.06.2016

06.07.2016 06.08.2016 06.09.2016 06.10.2016 06.11.2016 

06.12.2016 06.13.2016 06.14.2016 06.15.2016 06.16.2016 06.17.2016 06.18.2016 06.19.2016 06.20.2016 

06.20.2016 06.21.2016 06.22.2016 06.23.2016 06.24.2016 06.25.2016 06.26.2016 06.27.2016 06.28.2016

01.06.2016 Eduardo Palomares
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2018

the ephemeral act of walking turns to a transcendental 

pilgrimage.

I WALK. YOU WALK. GOD WALKS

375.Park.Av.NY

Eduardo Palomares
Eduardo Palomares
Eduardo Palomares

They fall from the sky and end up on the path I draw in gold.

In the Seagram building in New York, the most ridiculous personalities from the big apple came to have lunch. Between “Picassos” they filled their mouths with conversations choked by the tense position of their heads.  Mark Rothko was then asked by giving the restaurant a new color, a new sophistication that he declined.

In times where the economy was religion, the painter of religious emotions refused to create a space claimed to admire his work in a restaurant where the banality of the big city left diners deaf.

The banality of New York ...

The religiosity of the capital of the world ...

A path between buildings that fell from the sky was sacralized with a subway station, the fast-food stand, and the smoke from the chimneys of New Amsterdam.

In this pictorial and aesthetic religiosity, videos of the city take place projected on black velvet, sacralizing the act of looking. Creating in the viewer the most intimate gaze with the remoteness and anonymity of Manhattan. 

Accompanying this great 5-meter textile we find the relics of an installation, which as a final point shows three drawings. Maps of Manhattan and the drawn golden path that leads to the restaurant “four seasons”, which Rothko did not consecrate in painting, leaving it to the strictest devotion to capital.

 

NEW YORK

2018

Seagram

Eduardo Palomares

23°45’22.4”N 173°50’40.6”E

The Vertical Kingdoms are thousands of islands that stretch across the wide Pacific Ocean. Founded in 1616 after the independence of the kingdom of Castille, they were formed into a hierarchical political system, under the supreme command of the Vertical Order.

Fiction has been written, translated, and spoken through history. Reality has been written, translated, and spoken through history. Is my reality the fiction of others? History is that social construction that like religion and money is one more created concept that we trust as a society. History is spoken, translated, written ...We are the reality that tomorrow will not exist, that tomorrow will be fiction.

V E R T I C A L  K I N G D O M S

2017    

2018    

2019    

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Eduardo Palomares
Eduardo Palomares
Eduardo Palomares
Eduardo Palomares

42°49’56.1”N 158°22’46.0”W

VITA

I S L A N D

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Eduardo Palomares

The island of Asunción in the Pacific, drawing according to 1789 manuscript

ink on paper 171 x 121

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22°44’17.5”S 135°11’58.1”W