BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Yusto/Giner - ECPv5.16.1.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Yusto/Giner X-ORIGINAL-URL:https://yusto-giner.com X-WR-CALDESC:Eventos para Yusto/Giner REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20260101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20260306T080000 DTEND;TZID=UTC:20260516T170000 DTSTAMP:20260410T094504 CREATED:20260310T103031Z LAST-MODIFIED:20260313T160354Z UID:11540-1772784000-1778950800@yusto-giner.com SUMMARY:RAINBOWS AT THE EDGE OF SORROW DESCRIPTION:Laura Lagraña a.k.a. Culitomatón en Vogue\n \n \n \n \n \n  \n  \n \n \n \n 6MAR · 16MAY 2026\n  \n \n \n \n \n \n \n \n La exposición\nObras\nPrensa\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n\n\n\n\nRAINBOWS AT THE EDGE OF SORROW\nREMUS GRECU\n  \n\n\n\nYUSTO / GINER presents “Rainbows at the edge of sorrow” at its Madrid space\, a solo exhibition by the artist Remus Grecu\, with text written by the curator Sasha Bovojev. \nThe common thread among Las Meninas by Velázquez\, The Clothed Maja or The Nude Maja by Goya\, da Vinci’s La Gioconda\, or countless portraits by Picasso is their focus on a female protagonist. The female portrait has long been a cornerstone of figurative painting\, a motif artists have returned to across centuries\, constantly reworking its form and meaning. It is within this ongoing evolution that Remus Grecu’s most recent series of paintings positions itself\, reflecting a new shift in how this familiar subject is approached and understood. \nAfter years of following the Romanian painterly tradition and creating work with a social or political undertone\, Grecu wanted to do the opposite: create work that feels shocking in a beautiful way. Thinking of old masters who were ahead of their time in adopting new materials and tools\, he turned to AI in search of a concept that could stage a Renaissance-like scene projected into the future. From there\, he began to merge three cornerstone motifs of figurative painting —the female portrait\, landscape\, and still life— into a single pictorial logic. Rather than functioning as separate genres\, these elements operate as overlapping registers. Identity\, emotion\, and presence are conveyed through the figure; a sense of world or context through the landscape; and material\, symbolic\, or temporal cues through objects and fruit. Combined\, they are the ultimate figurative painting toolkit\, an all-star cast of figurative painting elements capable of producing dense\, layered compositions. \nThis idea was initially inspired by Ghirlandaio’s An Old Man and His Grandson\, by encountering the vibrant colors of Lorenzo Lotto’s paintings\, and by a desire to capture the polished\, technology-backed aesthetics of the 21st century. As a result\, rather than cultivating dor —the pervasive\, melancholic longing associated with the Romanian painterly tradition— \, Remus Grecu’s new works focus on a plastic-like idealization of beauty. Instead of timeless rural life and stoic portraiture\, his central subject becomes the perennial motif of the female muse\, accompanied by equally timeless still-life and fruit arrangements. The atavistic bond between people and land is absent\, and these numb\, porcelain-doll-like figures are staged at a deliberate distance from their natural surroundings. The full spectrum of bright\, vibrant colors —Grecu applies several layers of natural pigments— has replaced the commonly grounding palette of deep ochres and “dirty” whites\, while the heavy\, sculptural impasto gave way to a silky\, glossy rendition that underscores the impossible perfection. In this way\, Grecu shifts from a synthesis of Byzantine spirituality and earthy Western Modernism toward a hybrid of Western Classicism and the artificiality\, sublimity\, and glitchiness of Midjourney AI. He’s using these elements as three ingredients in a dish that will always taste good\, but the flavor Will change slightly each time. \nNot hiding the artificial origin of such perfection\, Remus Grecu’s sitters are not real people but hybrids of sorts. They’re the result of a back-and-forth dialogue between the artist\, who supplied his photographs\, and the technology that continually modified them in response to his prompts. As such\, they feel like prototypes\, a manifestation of an idea of what that model should look like. Their ageless\, peak-beauty appearance is inspired by Voltaire’s notion of fading grace in Candide\, and they’re placed in ambiguous interiors often adorned with Rubenesque drapery. The idea of capturing the non- existing\, imaginary\, or surreal extends to the depicted fruits\, which are frequently idealized beyond recognition or entirely invented. The same applies to the occasionally appearing animals\, particularly birds —symbols of freedo —\, which are also mutants composed of features from different actual species. Grecu even adds entirely impossible\, pseudo-representational elements as a sobering reminder of the gap between reality and what is portrayed. In this way\, he is almost mocking the human desire for perfection and the Icarus-like determination to reach what is\, in fact\, unattainable. \nAll this leads to the purposeful inclusion of glitches. Clothing shifting between dress and pants\, or proportions\, perspective\, and depth refusing to follow a single logic —act as a counterweight to the otherwise calming image of beauty and perfection— evoking surprise\, shock\, and confusion. And while initially employed to introduce strangeness into otherwise picture-perfect scenes\, Bosch’s demons\, goblins\, and ghouls serve as warning signs of things actually being twisted. Unlike the original paintings\, which used them as “mirrors” of human depravity\, they’re now protecting us from falling for a deliberately constructed illusion. The perfection of the image thus provides a moment of respite\, serenity\, and a break from the cruelty and weight of a reality we are otherwise acutely aware of. Although similar in composition and general structure\, each work is meant to contain its own universe and to function individually. This\, again\, echoes Voltaire’s Candide\, which suggests that the only way to find peace is to stop obsessing over abstract metaphysics and simply “cultivate one’s own garden.” \nThe portrayed landscapes typically follow the classical “world landscape” (Weltlandschaft) tradition. This imaginary panoramic format is seen from an elevated viewpoint and characterized by a high horizon line and a panoramic view that suggests the entire cosmos. With elements nodding to Bosch’s distant lands —seen through the lens of medieval visual culture—\, Rousseau’s lush\, hallucinatory jungle landscapes\, or Kahlo’s vibrant tropical scenery\, Grecu searches for a balance between imagination and familiarity\, wonder and appeal. Another shared quality is the feeling of “manufactured” rather than natural\, which permeates the entire language and concept. The Flemish pioneer of the panoramic perspective cleverly synthesized various non-referential influences into his symbolism-filled layouts and emphasized the idea of a false paradise. \nThe French post-Impressionist employed a sense of Naïve or Primitive “wrongness” to make the flattened and collage-like landscapes and foliage feel surreal and claustrophobic. And Remus Grecu occasionally borrows these tried-and-tested strategies alongside synthetic perfection to build scenery that is equally ideal and impossible\, and therefore both enchanting and humbling. Although not immediately noticeable\, such “realism” feels “cruel” because it subtly exposes the decay or imperfection of the real world. Its vitreous clarity is cold\, sharp\, transparent\, and stripped of any comforting illusions\, and as such\, it provides a sudden\, refreshing —if slightly uncomfortable— sense of clarity. A clarity that becomes a point of rupture where the painted perfection breaks the viewer’s immersion and makes one soberly aware of one’s own reality. It creates a moment that allows us to see beyond the ethereal Rainbows at the Edge of Sorrow. \n\n\n\n\n\n  \n— Saša Bogojev \n YUSTO / GINER MADRID \n\n\n\n\n\n\n\n\n\n\n \n \n \n \n \n \n\n \n Laura Lagraña a.k.a. Culitomatón en Vogue\n \n 10 Dec\, 2025 https://www.vogue.es/articulos/culitomaton-laura-lagrana-artista-ceramica-esculturas \nread more \n \n \n \n\n \n PAC | Memories in motion\n \n 10 Dec\, 2025 https://www.plataformadeartecontemporaneo.com/pac/memories-in-motion-propuesta-curatorial-de-geraud-jean-claude-y-yusto-giner-marbella/ \nread more \n \n \n \n\n \n KOAX Magazine | Line Finderup\n \n 22 Sep\, 2025 https://koaxmagazine.com/what-was-i-made-for-line-finderup/?utm_campaign=newsletter&utm_medium=email&utm_source=mailing13 \nread more \n \n \n \n\n \n ELM Art | Fran Baena\n \n 22 Sep\, 2025 ELM ART (1) \nread more \n \n \n \n\n \n El Pespunte | Fran Baena\, The broken mirror of the present\n \n 6 Jun\, 2025 https://www.elpespunte.es/fran-baena-el-espejo-roto-del-presente/ \nread more \n \n \n \n\n \n Medium | Ángeles Agrela: Portraiture as Symbolic Construction and Visual Resistance\n \n 6 Jun\, 2025 https://medium.com/@sarah_renerr/%C3%A1ngeles-agrela-portraiture-as-symbolic-construction-and-visual-resistance-6f1129436e0f \nread more \n \n \n \n\n \n Ángeles Agrela designs the poster for La Mar de Músicas 2025 and reinvents female representation\n \n 20 Mar\, 2025 https://www.laverdad.es/culturas/musica/angeles-agrela-disena-cartel-mar-musicas-2025-20250320132033-nt.html?ref=https%3A%2F%2Fwww.laverdad.es%2Fculturas%2Fmusica%2Fangeles-agrela-disena-cartel-mar-musicas-2025-20250320132033-nt.html \nread more \n \n \n \n\n \n Magda Kirk and Fran Baena among the most surprising projects at UVNT25 – Vanidad Magazine\n \n 17 Mar\, 2025 https://vanidad.es/uvnt-art-fair-2025-mejores-proyectos/ \nread more \n \n \n \n\n \n Interview by Fran Baena in the magazine «Dosis Kafkiana» n16\n \n 18 Feb\, 2025 https://www.dropbox.com/scl/fi/qhvzhta63brhr5sg6rrmw/Dosis-Kafkiana-16-Revista.pdf?e=2&fbclid=PAZXh0bgNhZW0CMTEAAaaUtoHzztfJNFTcOGojKS4pkTSSuvSfUVEaH-wH-2eCErolZPCtRYw19Gs_aem_UFcI35S161RiPZJwJ4A0EA&rlkey=kkf9jzb2nbi39fi9qzc4sz2wp&st=vcnxm9gb&dl=0 \nread more \n \n \n \n\n \n Miguel Scheroff en la edición de diciembre de la revista NUEBO. pág 80-89\n \n 14 Jan\, 2025 https://issuu.com/nuebomagazine/docs/nuebo_29_diciembre_2024 \nread more \n \n \n « Older Entries URL:https://yusto-giner.com/exhibition/rainbows-at-the-edge-of-sorrow-2/ CATEGORIES:EXHIBITIONS,Remus Grecu ATTACH;FMTTYPE=image/jpeg:https://yusto-giner.com/wp-content/uploads/2026/03/2K6A9972.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20260327 DTEND;VALUE=DATE:20260601 DTSTAMP:20260410T094504 CREATED:20260408T114120Z LAST-MODIFIED:20260408T114120Z UID:11588-1774569600-1780271999@yusto-giner.com SUMMARY:VOY DESPACIO. LLEVO 1 OLLA CON SOPA DESCRIPTION:Laura Lagraña a.k.a. Culitomatón en Vogue\n \n \n \n \n \n Laura Lagraña a.k.a. Culitomatón\n \n \n \n 27MAR / 31MAY  · 2026\n  \n \n \n \n \n \n \n \n The exhibition\nArtwork\nPress\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n      \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n\n\n\n\n\nVOY DESPACIO. LLEVO 1 OLLA CON SOPA\nLaura Lagraña \n\na.k.a. Culitomatón \n\n  \nYUSTO / GINER presents\, in our space in Marbella\, Voy despacio. Llevo 1 ol la de sopa \, a solo exhibition of the artist Laura Lagraña a.k.a. Culitomatón. \n“All the pieces that make up this exhibition are inside this pot of soup. Before I fall asleep\, I often imagine watching a horse gallop by a lake. Sometimes I runb beside it\, though I don’t like to ride it. It’s an image I’ve turned to since I was little\, whenever I feel like the soup is about to spill over. \nThe ingredients of the soup are: the vertigo that gathers in your belly when you get on a carnival pirate ship; laughing so hard you cry while having breakfast with your mom; watching deer at night in the rain\, caught in the headlights\, and seeing the steam rise from their warm bodies; finding peace resting on the chest of the person you love; the energy that surges up your arms and makes your body shake\, trembling\, because your body can’t hold the intensity inside it… \nWhat’s inside will always dance with me\, hand in hand\, and we’ll take slow steps—and sometimes very intense ones. I cling to extreme memories\, and from them are born guardian figures with tiny worlds of their own\, living together inside the soup I carry\, very slowly\, between my hands.” \nThis exhibition is an invitation to slow down\, to let emotions simmer\, to treat tenderness as an act of resistance. Through a visual language that merges humor\, fragility\, and the vibrancy of color\, the artist proposes a sensitive choreography where the ordinary and the fantastic boil together\, releasing steam\, memory\, and desire. The show brings together a series of sculptures that interact like ingredients in the same emotional recipe. Each piece is an extension of that symbolic pot where the intimate meets the absurd\, where laughter and melancholy share the same slow-burning flame. \n  \n\n\n\n \n\n\n\n\n\n\n\n\nAbout the artist: \nLaura Lagraña (Culitomatón\, Barcelona\, 1995)\, based in Bilbao\, holds a degree in Illustration\, Ceramics\, and Sculpture from IAE Pau Gargallo (Badalona). Straddling sculpture and illustration\, her practice transforms a gray\, fast-paced world into one that is playful and absurdly colorful. Her process begins with drawing\, where ideas emerge and then gain autonomy through color and its relationships; ceramics come last to give body to the characters and\, through glaze and materiality\, to move away from the first line and build a tender\, playful\, and deeply human narrative. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n  \n\n\n\n\n\n\n\n  \n\n\n\n\n \n \n \n \n \n \n\n \n Laura Lagraña a.k.a. Culitomatón en Vogue\n \n 10 Dec\, 2025 https://www.vogue.es/articulos/culitomaton-laura-lagrana-artista-ceramica-esculturas \nread more \n \n \n \n\n \n PAC | Memories in motion\n \n 10 Dec\, 2025 https://www.plataformadeartecontemporaneo.com/pac/memories-in-motion-propuesta-curatorial-de-geraud-jean-claude-y-yusto-giner-marbella/ \nread more \n \n \n \n\n \n KOAX Magazine | Line Finderup\n \n 22 Sep\, 2025 https://koaxmagazine.com/what-was-i-made-for-line-finderup/?utm_campaign=newsletter&utm_medium=email&utm_source=mailing13 \nread more \n \n \n \n\n \n ELM Art | Fran Baena\n \n 22 Sep\, 2025 ELM ART (1) \nread more \n \n \n \n\n \n El Pespunte | Fran Baena\, The broken mirror of the present\n \n 6 Jun\, 2025 https://www.elpespunte.es/fran-baena-el-espejo-roto-del-presente/ \nread more \n \n \n \n\n \n Medium | Ángeles Agrela: Portraiture as Symbolic Construction and Visual Resistance\n \n 6 Jun\, 2025 https://medium.com/@sarah_renerr/%C3%A1ngeles-agrela-portraiture-as-symbolic-construction-and-visual-resistance-6f1129436e0f \nread more \n \n \n \n\n \n Ángeles Agrela designs the poster for La Mar de Músicas 2025 and reinvents female representation\n \n 20 Mar\, 2025 https://www.laverdad.es/culturas/musica/angeles-agrela-disena-cartel-mar-musicas-2025-20250320132033-nt.html?ref=https%3A%2F%2Fwww.laverdad.es%2Fculturas%2Fmusica%2Fangeles-agrela-disena-cartel-mar-musicas-2025-20250320132033-nt.html \nread more \n \n \n \n\n \n Magda Kirk and Fran Baena among the most surprising projects at UVNT25 – Vanidad Magazine\n \n 17 Mar\, 2025 https://vanidad.es/uvnt-art-fair-2025-mejores-proyectos/ \nread more \n \n \n \n\n \n Interview by Fran Baena in the magazine «Dosis Kafkiana» n16\n \n 18 Feb\, 2025 https://www.dropbox.com/scl/fi/qhvzhta63brhr5sg6rrmw/Dosis-Kafkiana-16-Revista.pdf?e=2&fbclid=PAZXh0bgNhZW0CMTEAAaaUtoHzztfJNFTcOGojKS4pkTSSuvSfUVEaH-wH-2eCErolZPCtRYw19Gs_aem_UFcI35S161RiPZJwJ4A0EA&rlkey=kkf9jzb2nbi39fi9qzc4sz2wp&st=vcnxm9gb&dl=0 \nread more \n \n \n \n\n \n Miguel Scheroff en la edición de diciembre de la revista NUEBO. pág 80-89\n \n 14 Jan\, 2025 https://issuu.com/nuebomagazine/docs/nuebo_29_diciembre_2024 \nread more \n \n \n « Older Entries URL:https://yusto-giner.com/exhibition/voy-despacio-llevo-1-olla-con-sopa-4/ LOCATION:Yusto/Giner Gallery\, C/Madera nº9\, Marbella\, Málaga\, 29603\, España CATEGORIES:EXHIBITIONS,Laura Lagraña ATTACH;FMTTYPE=image/jpeg:https://yusto-giner.com/wp-content/uploads/2026/04/2K6A0096-scaled.jpg END:VEVENT END:VCALENDAR