Online Residency 2021
INDIVIDUAL EXHIBITIONS
2009 “Nuevos Metales” exhibition, Gallery Babel. Murcia, Spain.
PRIX
2008 First price. XXXVI Concurso Nacional de Pintura Villa de Fuente Álamo. Murcia
2008 First Medal of Honor in the “X Premio de Pintura Cámara de Murcia”
GROUP EXHIBITIONS
2010 Exhibition at III Hotel Art Fair. Galleriy Babel stand. Cartagena, Spain
2009 “La ciudad de la niebla”. Gallery Babel. Murcia
2009 Exhibition at II Hotel Art Fair. Gallery Babel stand. Murcia. Cartagena, Spain
2009 Painting Prize, “X Premio de Pintura”. Chamber of Commerce of Murcia, Spain
2009 X Premio de Pintura Universidad de Murcia, Spain
2009 Certamen de Artes Plásticas Creajoven’09. Murcia, Spain
2008 Painting Prize XXXVI National Painting Competition Villa de Fuente Álamo. House of Culture. Fuente Álamo. Murcia, Spain
2008 «Atelier Janus», Bagnols-en-Forêt, Nice, France
2008 “Rayuela” exhibition, Galerie Babel. Murcia, Spain
RESIDENCES
2017 Espace W, Pantin, France
Artist statement
Manuel Cerezuela’s work elaborates a scrutiny of the world guided by the fragmentation of the object and the image. Far from a unidirectional definition, his work presents various levels of significance. At the same time political and poetic, his works relate references to the history of art, popular subcultures, geology, anthropology and geopolitics.
Objects are carriers of meaning and history, the gap between their initial intention, for which they are conceived, and the interpretation they have acquired.
Seeing the world as a mold is a tool that serves to review the notion of reality and rethink the power relations established by Western society and that define the individual. Does the world define the subject or is it the subject who shapes the world. The mold of consumer objects is often used as a reconstruction of a reality, made of industrial and geological materials, such as plastic, epoxy resin, ash and anthracite. In a certain sense they are copies where the original is lost, like an archeology of the present, his most recent work establishes a topology that highlights the limits of a reality where chance and entropy have become vectors of his work, to finally investigate the uses of the object and its disposition.
In his paintings and sculptures we can see a treatment of the materiality of the image, which is fragmented, dissolved, or in some way deconstructed. Even in its most abstract dimension, the image is defined and extracted from the abstract to interrogate reality in its different facets. Manuel Cerezuela’s work has evolved towards installation in order to analyze space and the complex relationships of subject and object, inherent in a society enchanted by its own technological vanity.
