Susana Solano

Susana Solano has placed images in the world that move and engage us. Her art, like perhaps all art that can still be considered legitimate, invites us to inhabit those imaginary places where the risk of the present becomes visible and continues to question us. His sculptural creations are hard, abstract, defined, sharp-edged, sometimes hurtful. But there are other images in his work, other materials, sometimes as ductile and fragile as the memory of things past.
The truth is that the creative trigger arises without forcing, in a close and social environment, in personal experiences, in everyday life, in what I know and what I don't know, in what hurts and what makes me happy? 
The work no longer belongs to me and it amazes me because it belongs to itself. I have only been an instrument, perhaps a shadow, of the collective memory. Any attempt to explain it is anecdotal, and the greatest anecdote is to be speaking or writing it myself. Nevertheless, art is something else; this is its glory, in a world increasingly full of pacts, norms, methods, bureaucracies, truths, reasons... and their opposites.

By the mid-1980s Susana Solano (Barcelona, 1946) had accrued a noteworthy reputation and became the most important Spanish artist on an international level. She was awarded Spain’s National Visual Arts Prize in 1988, took part at documenta Kassel in 1987 and again in 1992, at the Venice Biennales in 1988 and in 1993, and since 1987, she has a public work on permanent display in the city of Münster, the result of her participation in that year’s Skulptur Projekte, the most important global event of its kind. Her latest projects include Con la mano. 1979-1980, at CA2M (Móstoles, Madrid); El mundo de las cosas, CNIO Arte 2022 (Madrid); Acta, IVAM (Valencia); and Acta (dos), Museo Patio Herreriano, Valladolid.