DIS BERLIN

Ciria, Soria 1959

Lives and works in Aranjuez

Linked to the New Madrileña Figuration through his friendship with Manolo Quejido, Carlos Franco and Guillermo Pérez Villalta. Curator of the programmatic exhibitions El retorno del hijo pródigo (The return of the prodigal son) or Pieza a pieza (Piece to piece). Gallery Caballo de Troya developer. Linked to the gallerys Buades, Estampa, Siboney and My Name’s Lolita Art.

Dis Berlin sees painting as an articulator through a multidisciplinary work developed through photographic collage, installation, sculpture, screen printing or drawing, with the intention of recovering the idea of totality through a personal recreation of the universe.

Dis Berlin sees the painting as a living space where he builds a pictorial reality through elements and concepts from all periods, themes, styles, cultures, places and thoughts with poetic, conceptual and narrative purposes. Imaginary spaces in constant metamorphosis where an illusionistic and abstract conception co-exists in a hybrid and unorthodox way. .

DisBerlin makes significant use of the image file. His background documentary of the images - views, scenery, characters, objects and customs – come from his search for the unknown in ancient and exquisite prints is systematically classified under a personal system of categories that grow and change. An encyclopedic collection assembled by collage technique, in mysterious still life, which reformulates cultural symbols with an intention to cause surprise, bewilderment or astonishment.

Using quotes and tributes from his imaginary museum: literature, film or music which enhances the kaleidoscopic labyrinth of his painting and character. A work that invites you to enjoy freedom from prejudice and mental enjoyment through an upbeat, psychedelic and spiritual journey.

His work is a structured and open-ended series in which the author addresses the topics that reflect cyclically, while forming a particular extended autobiography. His beginnings in the so-called Blue Period which focuses on Stationary Traveller and Europe, which addresses the nostalgia of the non- living of an historical moment . The concept of pictorial space as a utopian vision has been represented by mapping the particular and fantastic arcadia in series like Heaven, Paradise or Wonderland. In his Cantos series, developed from the poetics of Ezra Pound, he creates absolute symbols such as ambition, faith, desire, metaphysics or memory. His perception of women and their world is reflected in the Eva series. In Homo sapiens, he carries out an iconographic background of modern life from the industrial revolution to the present. His Nirvana series is also emphasized, centered on the concept of spirituality in art, and The kingdom of the metamorphosis, an incandescent celebration of geometric curves and of the labyrinth.

Among the pictorial references the following painters are highlighted: Félix Valloton, Giorgio de Chirico, Francis Picabia, Henri Mattisse, Sigman Polke or Paul Klee.

Consulted bibliography: Albiñana, Salvador, “Un baedeker de fantasía”; Andrés Ruiz, Enrique; “Los ciervos de la melancolía”; Bonet, Juan Manuel, “Para un diccionario disberlinesco”, in the exhibition catalogue Dis Berlin. El reino de las metamorfosis, Valencia, IVAM, 1998. Bonet, Juan Manuel, “Los motivos del canto o la hoja poundiana”, in the exhibition catalogue Dis Berlin. Cantos, Zaragoza, Banco Zaragozano, 1990. Bonet Correa, Antonio, “Los enigmas paradigmáticos de Dis Berlin” in the exhibition catalogue Dis Berlin. Homo Sapiens. IV entrega, Santander, Sala Roballera, 2012.