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About

Trying to articulate Leonor Serrano Rivas’ practice takes to a challenging position, confronted by the work of an artist whose approach tends to oppose any sort of framing and categorisation. 

Serrano Rivas starts from historical fonts: a book outlining mimetic theatrical techniques from the Renaissance; happenings at the Esclava Theater in Madrid while under Gregorio Martínez Sierra’s theatre direction; an essay by Roger Caillois on the dream state; and so on... but instead of a steadfast research with some outlined conclusions, Serrano Rivas lets herself being cherished by interpretation and free association; concatenating one thought after the other with a non-logical reading of things and themes. Dream logic is all that should be relied on when engaging with the work of Serrano Rivas, and it is often used by the artist as a way to present layered sensorial environments where the viewer must forget the narrative impulse, unlearn this desire for resolution and delve into the realm of the work.

Elements build one upon the other: a moving image work typically becomes expanded in the space, where sculptures function as a tridimensional crystallization and prosthetic extension of the film in the space. The viewer, together with the use of lighting, becomes an active agent in the process of revealing the performative qualities of the sculptural works. Materials are chosen for their inherent qualities and evocative potential. Glass, for example, becomes alive as a breathed and breathing body.

Engaging with non-hierarchical systems and non-academic methods of unlearning becomes a subtle act of resistance, be it towards mere perception or societal established paradigms and constrictive norms. It can perhaps even find its own logic to observe that Serrano Rivas, with her new body of work, has been interested in animation mechanics, especially in the pre-cinematographic techniques such as shadow theatre and dioramas, seeking to present situations where the effect is created but the “magic trick” is revealed. 

Such interest is far from being a mere nostalgia for pre high-tech aesthetics, but it rather metaphorically constructs a certain awareness over the mechanics of reality perception. Serrano Rivas creates a perspective into the perspective - an enchanting disenchantment that explores the mechanics that allow the magic to happen.

Caterina Avataneo


Leonor Serrano Rivas (1986, Spain) lives and works in South of Spain. She graduated from MFA Fine Arts, Goldsmiths University of London. Recent solo exhibitions and performances include: Museo Reina Sofía MNCARS (2022-2023); Matadero, Madrid, ES (2020); C3A, Cordova, ES (2019); The Swiss Church, London, UK (2017); Chisenhale Studios, London, UK (2016); Serpentine Galleries, London, UK (2014). She was nominated for the Jarman Award (2018). Recent group exhibitions include: Centro Cultural de España en México, Mexico City, MX (upcoming); CAAC, Seville, ES (2019); V22, London, UK (2018); Foundation Botin, Santander, ES (2018); CA2M, Madrid, ES (2018); Platform Revolver, Lisbon, PT (2017); Bluecoat Gallery, Liverpool, UK (2016). Serrano Rivas has been the recipient of a number of prizes including the Alhambra Prize 2019, ARCO Madrid Young Art award and the Caja Madrid Art Projects Prize. She is currently working on a site-specific intervention for Abadia Retuerta and Patio Herreriano,both in Valladolid, ES.   


CV

Contact

For any additional information or specific requests please contact studio[at]leonorserranorivas.com

NATURAL MAGIC

ABOVE THE EYE LEVEL

ESTRELLA, ESLAVA, ESFINGE

THE DREAM OF THE MOUTH

AN ORNAMENTAL WAY OF MOVING

BETWEEN THE NOSE AND THE MOUTH

LIMBS DESCRIBE CURVES