2022 – present

Black and white prints on Hahnemühle paper intervened with acrylic paint.
Dimensions variable.

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

Conceptual art adopted language and photography as primary media in its various manifestations. In the photographic documentation derived from the disciplinary eclecticism of this movement, a series of restrictive unwritten precepts were adhered to, such as: not cropping, not editing, not posing, and the absence of color. Through these particularities, which were perpetuated in the works under study, there was an effort to maintain an ideology of neutrality where these images stood as unquestionable truths, perhaps stemming from the false chromatic appearance of the legacy of classical sculpture and painting, but also as a reaction to the hegemony of Greenberg's visual plasticity that prevailed during the peak years of conceptual art.

Conceptual art, since its inception in the 1960s, sought to escape the autonomous art object and the artwork as a commodity by taking the path of dematerialization. Paradoxically, it ended up becoming photographic documentation and, in this transubstantiation, lost its color. These gelatin silver prints were collected in museums worldwide, and the aesthetic of black and white—allegedly neutral, objective, and serious—inevitably became confused with the tenets of this movement.

As when we are children, before drawing or painting, we learn to color. But color has also been frequently associated with qualities historically attributed to the feminine: as opposed to line and colorlessness attributed to reason and thought, color is positioned as superfluous, uncontrollable, and decorative. The coloring of old photographs was also often entrusted to women. Therefore, this is a post-photographic work in which I seek to pay homage to my historical references while testing my manual skills and including my own subjectivity in the process.
Press/ Texts:
· Joshua Decter, ‘Being Cristina Garrido’, Cristina Garrido. The Origin of Forms. Ed. Museo Centro de Arte Dos de Mayo (2024).
· Fabiola Iza, ‘Critic’s Picks Madrid’, ARTFORUM (2022).
· Víctor Zarza, ‘Maquillar a los conceptuales’, ABC Cultural (2022).

· Paintings (solo exhibition). The Goma (Madrid, Spain, 2022-2023).
· [DOSMILVINT-I-U][DOSMILVINT-I-TRES] = 1 encuentro (group exhibition). Cur. M Reme Silvestre. IVAM - Instituto Valenciano de Arte Moderno (Valencia, Spain, 2023).
· Carta blanca a Cabello/ Carceller (group exhibition).  Cur. Cabello/ Carceller. Museo Patio Herreriano (Valladolid, Spain, 2023-2024).
· Paintings (solo booth). Art Brussels/ Section DISCOVERY, The Goma (Brussels, Belgium, 2024).

General installation views and details of the exhibition Cristina Garrido. Paintings [Cristina Garrido. Pinturas], The Goma (Madrid, 2022). Images: Roberto Ruiz.
[Colored] Carole Schneeman, Interior Scroll (2022). 35 x 27,5 cm.
[Colored] Gordon Matta-Clark, Splitting (2022). 56 x 65 cm.
[Colored] John Baldessari, Hands Framing New York (2022). 24,7 x 31,3 cm.
[Colored] Bas Jan Ader, I’m too sad to tell you (2022). 33 x 41,3 cm.
[Colored] Yves Klein, Zone de Sensibilité Picturale Immatérielle (2022). 51 x 61 cm.
[Colored] Mladen Stilinović, Artist at Work (2022). 45 x 54,5 cm.
[Colored] Valie Export, Eros/ion (2022). 29 x 35,6 cm.
[Colored] Fina Miralles, El cuerpo cubierto de paja (2022). 43,3 x 33 cm.
[Colored] Yoko Ono, Cut Piece (2022). 37,5 x 32,5 cm.
[Colored] Jiri Kovanda, XXX – November 19 (2022). 24 x 34,5 cm.
[Colored] Marina Abramović & Ulay, Imponderabilia (2022). 52,5 x 53 cm.
[Colored] Marina Abramović & Ulay, Imponderabilia (2022). 52,5 x 53 cm.
[Colored] Trisha Brown, Roof Piece (2024) 36,5 x 49 cm. 
[Colored] Robert Morris with Carolee Schneemann, Site (2023) 28,5 x 31,5 cm. 
[Colored] Peter Moore, Simone Forti (2023) 29 x 34,5 cm.
[Colored] Piero Manzoni, Scultura viviente (2023) 31 x 32,4 cm.
Installation views of Paintings (solo booth). Art Brussels/ Section DISCOVERY, The Goma (Brussels, Belgium, 2024).