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CRISTINA GARRIDO



SELECTED WORKS
· Colored
· The Best Job in the World
· Booth Exhibitions are the Institutions of our Time
· Local Colour is a Foreign Invention
· The (Invisible) Art of Documenting Art
· The Copyist
· Risk Management Paintings 
· Boothworks 
· Best Booths
· Tote Bag Paintings
· Aerial photography does not create space but registers surfaces
· The Social Life of `Untilled (Liegender Frauenakt)´
· An Unholy Alliance
· #JWIITMTESDSA?
· They are these or they may be others
· THIS IS ART NOW VOL.1
· TO WHOM IT MAY CONCERN
 · Veil of Invisibility
· Symptom






Colored

2022
Acrylic on black and white prints on Hahnemühle paper,
dimensions variable








This series reflects on the ideological implications of the use of color through my manual intervention in a selection of works from recent Art History.

Conceptual art, from its beginnings in the 1960s, and in its quest to flee from the autonomous artistic object and the work of art as commodity, took the path of dematerialization. Paradoxically, it became photographic documentation and, in this transubstantiation, it lost its color. These silver gelatin prints have been collected in museums around the world, and the black and white aesthetics – supposedly neutral, objective and serious – inevitably merged with the presuppositions of this movement.

My entry into the path of art was through painting, a practice that I abandoned when I moved to London in my formative years, upon discovering the artistic references that make up this series. In it I propose to retake the brushes through the direct intervention of these images through the subjective process of coloring.


CREDITS:
Installation views and details of Paintings (solo exhibition), The Goma (Madrid, Spain, 2022)
Images © Roberto Ruiz
Running on Cargo