PORTFÓLIO MANUEL VILARIÑO

MANUEL VILARIÑO

Abada, 2010

Hahnemühle sobre aluminium Hahnemühle on aluminium, 150 x 200 cm

Los pájaros, 1981-1989

Hahnemühle sobre aluminium Hahnemühle on aluminium, 230 x 690 cm 12 x (115 x 115 cm)

Ni Sombra Ni Lugar 06.02.08 - 13.03.08 (Carlos Carvalho Arte Contemporânea, Lisboa Lisbon)

Imagens da exposição Exhibition views







Paraíso Fragmentado, 2001/03

Hahnemühle sobre aluminium Hahnemühle on aluminium, 15 x (110 x 110 cm)

330 x 550 cm (total all pieces)

Vuelo Inmóvil 2003

Cibachrome s/ alumínio Cibachrome on aluminium

120 x 120 cm

Bodegón con limones, 2003

Cibachrome s/ alumínio Cibachrome on aluminium

120 x 120 cm

Luminous Shadows

of Manuel Vilariño

by Fernando Castro

Flórez

Excerpt from text of the

exhibition at MARCO, Vigo

Birds, beaches, mountains, ice, twilights and waves, the "abyssal

sea", in a beautiful verse by Gamoneda, and the foggy rhinoceros,

the owl and the words that starkly allude to an absence. The

horizon of shocking purity in Manuel Vilariño's photographs

makes us face an aesthetic of incomparable poetic beauty,

demanding and subtle, true and, therefore, gloomy. Alberto Ruiz

de Samaniego notices that the work of Vilariño is shown to us

with a "paradoxical serenity", with a tension between a near

outside and an interior distance, which requires "a calm gesture",

a calm luminosity. Vilariño's photographs bring us back to earth.

We have to assume the conflict of the work of art, that is, the

relationship between world and earth. Only by crossing the

twilight of the places can we return to the mountains and the

forest, to the place that, even in the dark, teaches us something.

It is there, in that area of the unknown, where art seeks its

subject or, better, where obsessions take root. One must learn

from the growth of things in nature and get to decide when is

the right time. By chance chronological and meteorological time

tells us of anything but a mixture, that is, of the kairós, or which is

propitious. The light that makes things visible imposes the time of

nature: there the cut and the continuity, the static and the fluid

come together. Although photography is the faithful evocative

testimony of reality, a means to remember, it also has a singular

sentimental charge, in which it goes from happiness to tragedy,

that is, in Barthes' terms, it is a reduplication of what has been

but also a theater of death. Vilariño's tragic wisdom touches us

by specifying the sacrifice, by beautifully illuminating finitude.

Manuel Vilariño’s song of existence is an intense and risky

dwelling in the open; trying to reach the origin of the origin, the

aión, the photographer enchants us with his nests of spices, with

his binds and his shattered paradises. Rilke points out, in his

Duino Elegies, that all the eyes of humanness are directed

towards the open. Only our eyes, turned upside down, like a

circle of traps, block all exits. We do not know what is beyond

the circle "except through the eyes of the animals." That is what

Vilariño seeks in his Involuntary Beasts, his eyes fixed on the

distance: to aspire to that borderless, limpid existence. The most

risky are those who want more; singing is belonging to the

totality of pure perception. The photographer has felt the force

of the wind from the unprecedented center of pure nature,

without having to enter into the clearing.

Our trips may not have any purpose and we wander to get to

nowhere or just to reach the sunset. We live between the hunt

and the game of hide and seek, we want the prey even though

in the end what appears is only the shadow. We are inevitably

thrown into existence between the hole and the shadow. The

photographer depicts dark animals, some of which he describes

as “insomniacs”, icebergs illuminated with ice indicating a

foreboding blackness, mountains which both enchant and disturb

us.

Manuel Vilariño is a great master of still life, characterized by

great poetic intensity. An "ambush" who comes over and over

again, archetype of the shadow. Vilariño has created in recent

years some fascinating compositions in which the artist

essentializes the classical technique by using elements such as a

candle, fruits or hanging birds.

In a very bare setting we witness not so much the apotheosis of

mourning, but a chromatic display; Vilariño highlights the colors

of the dead animals, intensifies the texture of the food while the

omnipresent flame of the candle seems to enter a dreamlike

dimension. To some extent, this artist is materializing what

remains of the folds of the dream: a butterfly on an open missal,

some rotten lemons, a beetle that seems to climb on the

vanishing wax. Further than literalism, Vilariño produces an

extraordinary game of variations in which he does not precisely

drown out the fantasy of flight but rather invites the viewer to

enter images that deserve the qualification of "generous."

Vilariño's work –an immense still life–, enforces an enigmatic

inner light. The artist’s intention is to let the animal or better, the

earthly, be. By doing so, he keeps the world open. What remains

in our epilogal era, what makes mankind happy, can be eroticism

again, laughter or joy at the time of death An open-wide-naked

eyes photographer awaits, then composes ritual scenes to give

space to what is properly invisible. Vilariño's beautiful journey to

a north that is radical outside has something of an Orphic

journey, of a “dark shudder” in pursuit of the beloved shadow.

If Manuel Vilariño evokes loneliness, silence or death, his work

also reveals traces of tenderness, the enjoyment of playing and

the happiness of the encounter that the trip provides. In one of

his texts he points out: beyond an apparent reality, the gaze of

the vertigo of an instant germinates “in the forest of shadows.”

He is capable of generating images that are, at the same time,

dramatic and capable of transmitting the intensity of life, moving

between lightness and darkness, dawn and twilight.

This photographer who has the soul of a poet knows that the

work of art is a questioning which does not long for a definitive

answer. +++

A la Aurora 2005

Papel Endura s/ alumínio endura paper on aluminium,

150 x 150 cm

Al despertar, 2011

Hahnemühle sobre aluminium Hahnemühle on aluminium,

150 x 150 cm

A la Aurora, 2005

Papel Endura s/ alumínio endura paper on aluminium,

150 x 150 cm

Lejano interior, 2011


Lejano interior, 2011


La Deshabitada, 2012

Hahnemühle s/ aluminínio, Hahnemühle on aluminium, 150 x 200 cm



Montaña negra, nuble blanca, , 1999

Gelatin silver print, 120 x 240 cm

Montaña negra, nuble blanca, , 1999

Gelatin silver print, 120 x 240 cm

Black Mountain 2, 2008


Black Mountain 3, 2008


A la Aurora, 2008

Hahnemühle s/ aluminínio, Hahnemühle on aluminium,119 x 238 cm

A la Aurora,2005


Mitologías 19.03 - 03.05 2014 (Carlos Carvalho Arte Contemporânea, Lisboa Lisbon)












A la Aurora 2005

Hahnemühle s/ aluminínio, Hahnemühle on aluminium, 2 x (120 x 120 cm)

A la Aurora 2005

Hahnemühle s/ aluminínio, Hahnemühle on aluminium, 2 x (120 x 120 cm)



Glaciar, 2013

Hahnemühle s/ aluminio Hahnemühle on aluminium,150x200cm

Luz Norte2005


The Tempest 2017

Hahnemühle s/ aluminio Hahnemühle on aluminium,120 x 120 cm

Tectónica 19.03 - 27.09 2015 (CGAC, Santiago de Compostela, Espanha Spain)


Manuel Vilariño

Tectonic by Alberto

Ruiz de Samaniego

Excerpt from the exhibition flyer

Tectonic at CGAC

Tectónica [Tectonic] is not just another exhibition by Manuel

Vilariño (A Coruña, 1952). What we are dealing with here is an

exploration of the author’s creative and poetic universe, but

from a standpoint that allows us to approach his work from a

completely new angle or perspective. It is effectively about

allowing the possibility of a tectonic work, in a metaphorical use

of the term, that is, to explore and highlight the supporting lines

that underlie his aesthetic thinking and which explain, in the form

of a continuous stimulus and a counterpoint, all the plastic and

poetic work —the very life experience— of this highly

distinctive creator This exhibition aims to seek out those places

which the harbour the silence or the original wonder of the

creative act, as well as the splendour of the images, right there

where they glimmer for perhaps the first time.

The exhibition has been conceived on the basis of four

thematic and formal lines: Music, Poetry, Science and Image. In

each of these strata of sensitive experience it will be possible to

contemplate a series of fundamental references throughout

Manuel Vilariño’s career, at the same time as his aesthetic

universe is contextualised and explained, not only with

examples of his work, but also through the presence of his

voice, his objects and readings, his journeys and as his cultural,

musical and knowledge-based references.

Now we know, the lesson of the things that happen is the

lesson that Manuel Vilariño has always been showing us. Through

his verses or his immemorial, archetypical images, which range

from the most elemental reality (a nest, a volcanic rock, a

charred piece of wood, the flight of a bird, the shadow of a

wing) to the broadest and most immersive visual languages (a

mountain rising out of the mist, the ocean as a metaphor for an

unbounded space of energy), that which the artist has been

pursuing throughout an already highly extensive work process is,

so to speak, the inexhaustible, voracious dream of the flame of

life. Its passing or its combustion in the midst of a continuous

process of generation and loss. The metaphysical game, too,

which is made up of absence, promise, subtraction and rebirth

or germination.

Vilariño’s photographs and words have always sought to

show or conjure up what religious treatises have referred to as

the numinous. “The numinous, wrote Mircea Eliade in Lo sagrado

y lo profano [The sacred and the profane], is identified as

something that is ganz andere, something radical and totally

different: it seems like nothing human or cosmic; confronted with

it, man experiences the feeling of his nullification, of ‘being merely

a creature’, expressed in the words of Abraham to the Lord, of

being merely ‘ashes and dust’ (Genesis, XVIII, 27).” Thus, the

photograph captures the radiant black heat which leaves its

zoological imprint in the form of a dangerous marking. What

Vilariño’s image captures is the fascinating tremor of an existence

which flows and disappears, like a pathway of lichen does in the

thicket where, in the distance, a bird sings. Poetry and image

emanate from this twilight enclosure which is, at the same time,

initiatory: initial. In the refuge, nest, cell or lair earmarked for the

darkest, most penetrating metamorphoses. Hence, all the tension

from the poetic act is traced, as the poet constantly read by

Vilariño, J.A. Valente, had already suggested, in the distance

between the bird and the net, or between its song and its nest

or cage.

This is the dance, the music, the eager, even anxious

ritornello of existence. Like the skull and tabla bwa, like the fire

or turmeric, the horse’s mane or, most strikingly, the copper in

which in this exhibition the artist has worked for the first time

the material is merely a setting for the cracks and their brilliant

dance. The surface of a crackle where the flashing of the colour

denotes the enumeration of very different earths, lights,

fluctuations and tensions. The indefatigable energy of the earth

and life, of death and the opening in its base. Here in its

alchemical depths, where everything appears to be consumed,

as everything is, in the end, regenerated.

To approach or feel these depths undoubtedly induces

bewitchment and dizziness, confusion and disorientation. Hence

the need to attempt to establish a fixed point, a focus where

vision is possible. That is the place of the song, there where, for

example, the song of the bird emerges. Exultant melody of life,

integrated at the same time agonisingly in the depths of nature.

The point of contemplation which is the poetic act itself or, to

quote the poet, Wallace Stevens, also present in this exhibition:

poetry as the “the triumph of contemplation. Poetic genius

chooses a strait path in which passion is calmed and calm is

passionate”. A nest, a mountain, the copper posts or cylinders, all

point symbolically towards this establishment of a visionary core.

To the effort of establishing a centre of the earth, knowing that

in order to live therein it needs to be established. These are

points of poetic invocation (not only in the most common sense

of the term ‘poetic’, but also in the use that the Greeks made of

the same: poiesis as creation of the world, somewhat fittingly).

Constructions, then, whose ritual orientation points towards the

dimension of a space which transcends the merely profane. In

this sense, the copper cylinders the artist has installed in the

lobby of the museum would

seem to operate as visible, symbolic images of cosmic pillars.

(…) +++

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VIGO (/VIGO/)

Retrospectiva de Manuel Vilariño

El Marco inaugura la exposición Seda de cabalo

MANUEL VILARIÑO

JORGE LAMAS (/FIRMAS/JORGE-LAMAS-DONO)

VIGO 17/09/2020 05:00 H

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retrospectiva-manuel-vilarino/

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07/04/2021 Manuel Vilariño: «La luz norte penetra en ti como el silencio de una estrella»

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CULTURA (/CULTURA/)

Manuel Vilariño: «La luz norte penetra en ti como el silencio de una estrella»

El fotógrafo une Galicia, Islandia y espiritualidad en dos exposiciones de su obra

Detalle de «Lejano interior», una de las obras del fotógrafo. MANUEL VILARIÑO

RODRI GARCÍA (/FIRMAS/MANUEL-RODRIGUEZ-GARCIA)

29/06/2020 05:00 H

«Ver esa imagen en silencio, en soledad. Como dice San Juan de la Cruz ‘no sufrir compañía’ [risas]

solo contemplar el paisaje». El fotógrafo Manuel Vilariño (/temas/manuel-vilarino) (A Coruña,

1952) no esperó a los días de confinamiento para buscar la soledad: «Cruzar el paisaje es como cruzar silencios.

Cuando tú te levantas en plena noche y esperas a que caiga lentamente el tiempo hasta el alba llega a haber un

gran silencio dentro de ti...», reflexiona sobre sus vivencias en la preparación de sus fotografías.

https://www.lavozdegalicia.es/noticia/cultura/

2020/06/29/manuel-vilarino-luz-norte-penetra-tisilencio-estrella/0003_202006G29P25991.htm

Buscar

Manuel Vilariño, un fulgor atlántico

A las orillas del glaciar, a la aurora… Vilariño dedica sus obras a la Naturaleza. Una doble cita gallega lo reivindica como «poeta»

Desde el interior de Caaveiro, en cuyo confín se refugiaron los monjes

benedictinos, llega el aliento rotundo de un hombre que aprendió a

mirar como los pájaros. Bosques húmedos y mareas salvajes, vientos

del norte cargados de arena, playas de cantos rodados, han definido la

sensibilidad del fotógrafo y poeta Manuel Vilariño (Premio

Nacional en 2007), heredero de una tradición romántica que

encuentra en Galicia un escenario cómplice de su melancolía.

Habían pasado cinco años ya desde la gran exposición que el CGAC le

dedicara, creando entonces un contexto nuevo en el que Vilariño

dialogaba con sus referentes directos -Dickinson, Pound, Auden,

Rilke-; varias voces para expresar un sentimiento común (el dolor de

la muerte, la ausencia, el silencio ante un paisaje remoto). Un mapa de

influencias sin orden ni jerarquía; un rizoma, concepto que vertebra

Buscar

https://www.abc.es/cultura/cultural/abci-manuelvilarino-fulgoratlantico-202003130153_noticia.html?ref=https:

%2F%2Fwww.google.com%2F

Avilés

↓

ÚLTIMA HORA

En directo: evolución de la pandemia en Asturias

Poesía fotográfica de Manuel Vilariño

Son 52 instantáneas de paisajes y naturalezas muertas, en su mayoría

de gran formato, dominadas por la melancolía del autor

←

C. DEL RÍO

Sábado, 5 diciembre 2015, 00:51

R 0 1 2 P O

Manuel Vilariño, Premio Nacional de Fotografía 2007, abre su alma en

'Seda de caballo', la exposición que ayer se inauguró en el vestíbulo del

auditorio del Centro Niemeyer. El fotógrafo de la poesía se entrega al

público en 52 instantáneas, la mayoría de gran formato, dominadas por

la melancolía que se apropió de su ánimo cuando concibió la muestra

para itinerar por Sudamérica en 2008. La exposición confronta

naturalezas muertas y paisajes en un discurso losó co sobre la nitud

https://www.elcomercio.es/aviles/201512/05/

poesia-fotografica-manuelvilarino-20151205005145-v.html

La fotografía poética de Manuel Vilariño en la

muestra “Mar de afuera” en el Círculo de

Bellas Artes

17 abril, 2012

El Círculo de Bellas Artes presenta los últimos trabajos del

fotógrafo Manuel Vilariño en una exposición que podrá verse hasta

el próximo mes de julio. Mar afuera, que así se titula la muestra, es

una selección de imágenes que nos hablan de la existencia o la

inexistencia a través del paisaje.

“Estamos ante un universo que es ante todo material, pero también

vibración”, explicó Alberto Ruiz de Samaniego, comisario de la

exposición. Según aclaró, en las instantáneas de Vilariño no queda muy claro si estamos ante

procesos de destrucción o de creación. “El territorio de la mirada de Manuel es ese intermedio,

precisamente ese espacio en el que las fronteras no están claras”, añadió Ruiz de Samaniego.

La muerte y el paisaje

Por su parte, el artista, Premio Nacional de Fotografía en 2007, explicó que este trabajo está

concebido en torno a la muerte a través del paisaje. “La muerte natural es una idea que apareció en

mi obra desde mis comienzos”, aseguró el fotógrafo.

Muerte, poesía y fotografía en Tabacalera con

Manuel Vilariño y su seda de caballo

12 septiembre, 2013

El singular y potente espacio de Tabacalera vuelve a abrir sus salas

a una exposición fotográfica. Esta vez la melancolía y la poesía del

gallego Manuel Vilariño son las encargadas de llenar los espacios

expositivos en una muestra que reúne un centenar de fotografías y

dos instalaciones del Premio Nacional de Fotografía 2007.

La exposición, comisariada por Fernando Castro Flórez, recorre la

fértil trayectoria de este artista coruñés, que utiliza en su obra

tanto el blanco y negro como el color, y nos acerca a su modo de ver el arte a través de un lenguaje

propio de presencias y sueños, de finitud y esperanza, de silencio y evocaciones.

“Una lección de arte”

“No se trata de una retrospectiva, pero sí es una muestra compresiva de su obra”, explicó el

comisario, que añadió que “se trata de una gran exposición de fotografía, pero también de una

lección de historia del arte”.

Desde su particular visión de los animales, los paisajes y las naturalezas muertas, hasta la

representación de la melancolía y la muerte, esta muestra revela los aspectos más destacados de la

estética de Vilariño, donde subyace siempre un fondo poético y una actitud contemplativa.

Por su parte el artista subraya la importancia que tienen para él los animales, vivos o muertes, tan

presentes en su obra y en esta exposición. “Con todos los animales he tenido una relación espiritual,

son seres sagrados”, señala. “Mi objetivo es ver a través de los ojos del animal”, afirma Vilariño.

https://www.revistadearte.com/2013/09/12/

muerte-poesia-y-fotografia-en-tabacalera-conmanuel-vilarino-y-su-seda-de-caballo/

ver galería

Portada / Oops / Art The Moment /

FOTOGRAFÍA:

Manuel Vilariño, el fotógrafo con alma de

poeta.

EL CENTRO NIEMEYER PRESENTA 'SEDA DE CABALLO', UNA RETROSPECTIVA

QUE MUESTRA UN CENTENAR DE FOTOGRAFÍAS DE MANUEL VILARIÑO.

0

Nacido en La Coruña hace sesenta y tres años y Premio Nacional de

Fotografía 2007, Manuel Vilariño es un artista en contacto permanente

con la naturaleza, cuyo fondo poético y su constante actitud

https://loff.it/oops/art-the-moment/manuel-vilarino-seda-de-caballo-224640/ 1/9

https://loff.it/oops/art-the-moment/manuelvilarino-seda-de-caballo-224640/

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