*The first 5 photos taken by ©Daniela Burtsch. dbutsch@ariadnefilme.de www.danielabutsch.eu

“There is a Greek concept for the critical, special moment that can change things: kairós. It expresses the feeling that any crisis is ambivalent and can easily lean towards either fate or fortune. It is an intuition of human fragility, of the crossroads that hide its sign.”

Alejandro Gándara. Gods Against Microbes, 2020.

“This is a journey close to the earth, grabbing the mud to hold onto life.

In the beginning, silence. A sphere suspended in the air marks time like a pendulum in the hand of God. Pieces of refractory clay, perforated and sewn with rope, reminiscent of the lattices of monasteries, the habits of monks, the seclusion in the dim light. Sunt lacrimae rerum (Virgil. The Aeneid, 1st century B.C.). There are tears in things, containing the breath of whoever created them, the time they dedicated to thinking and shaping them.

The sound comes through the sea. With it come shells, stones, and plastic waste. And the light of the Mediterranean. Porcelain clay, soft, the color of salt. And the revelry of the people, life out there. Flowers, colorful fabrics, glass bells that protect but reveal what is inside. The stone transforms into intermediate beings that open their mouths and challenge us. Halt. Listen.

This beautiful building houses an exhibition and something more. An intuition, an opportunity.”

Jana García González. February, 2023

View Full Exhibition PDF "KAIRÓS"

Adrift, at the mercy of the waves and the circumstances of these times, a woman creates and with her tears waters the seeds, as well as the earth that is now mud, vessel, and womb... a refuge for shared dreams, a protective space for the fragility of life. She, the stone, and the fire bear witness to human constructs, to the ferocity of ambitions that with their teeth have devoured, over years, millennia of creation. Cristina Minguillón's work is, in itself and in its process, an exercise in reclaiming silence, an ode to chosen solitude, to peaceful existence that calmly observes the eternal ebb and flow of the tides.

Fiber Art

This work is the result of playing with two English words: ADDRESS, home, and A DRESS, dress.

It is a reflection on the home and how we relate to it. The home is part of our identity and reflects who we are, the moment we are living, what we do, our place in the world, our beliefs, what we want to be...

The home protects us, envelops us, and covers us like a dress. In the home, we feel safe from the vagaries of weather, violence, others, struggle, and insecurity. "Home!" children shout to be immune in the game of tag.

But the home can also be hell, a hostile territory where we feel threatened or imprisoned and from which we must escape to grow or survive.

Home and dress are the presence and absence of each of us. When we are no longer there, home and dress preserve our image, our smell, our identity—they are what we were.

In this game, the mailbox is a model of the home, its exterior image, and it wants to receive and give information about us and what happens inside. The mailbox, like the home, is an intimate and personal territory, inviolable but at the same time fragile and vulnerable.

FAMILING

It is a project born from personal work around the family. The relationships among its members, unconditional love and support, roles, ancestral elements, affinities, encounters and disagreements, teachings and learnings, secrets, silences, betrayals, loyalties, abandonments, wounds, envy, manipulation, anger, recognitions, gratitude, family matters...

A project in collaboration with Carmen Minguillón, my aunt Cuca, my godmother, when she turned 100 years old, already with little strength. It had to be embroidered because she always created with threads and needles, crochet hooks, and perle cotton... I never learned. In these works, both her last stitches and the ones I did for the first time are present. And our perspectives on the family. Afternoons of conversation with colorful threads that I miss every day.

Series created in watercolor on paper during the pandemic period based on the experience of fear caused by the spread of news about the impact of something invisible and the power it came to have in our lives. Influencing how we behave, what we feel, our dependencies, relationships, attitudes, decisions...

LIST OF EXHIBITIONS BY CRISTINA MINGUILLÓN

SOLO EXHIBITIONS

• KAIRÓS. Ceramics. (February-March 2023). Ca Lambert. Jávea. Alicante.
• Barro y Silencio. Ceramics (January-February 2023). Casa Cultura. Dénia.
• Silencio. Ceramics. (December 2021-February 2022) CC Portal de la Marina. Ondara. Alicante.
• Encuentros y despedidas (February-March 2022) Códigos del Arte. Denia. Alicante.
• Tierra (December 2021-January 2022) Códigos del Arte. Denia. Alicante.
• Tierra (2019). Works on paper. Espacio D’artés (Soto del Real)
• Familiando (2019). Textile work. La Caña (Madrid)
• Familiando (2018). Textile work. Espacio D’artés (Soto del Real)
• Emerging (April-May 2018). Works on paper. Espacio D’artés (Soto del Real. Madrid)
• Ceramics (2016). C.C. Lope de Vega (Madrid)
• ADDRESS (2013). Sculpture. Espacio Andrés Delgado (Madrid)
• Ceramics (1989). Café El Globo. Guadalajara
• Ceramics (1985) Club Náutico de Vigo
• Ceramics (1984). Café El Ratón. Madrid
• Minguillón-Dibujos (1983). Café Entreacto (C/Martín de los Heros, 22. Madrid)

COLLECTIVE EXHIBITIONS

• Sculptures by the Sea. (July-October 2022). Paseo Marina de Denia, Alicante.
• ADAMA. Collective exhibition. (September 2021) Casa Cultura. Denia. Alicante.
• Contemporary Art Exhibition ARTESON 6. (July-August 2021) Former Hospital of San Andrés (Mombeltrán. Ávila)
• Contemporary Art Exhibition PALACIO 14 (July-August 2021) Palacio del Infante Luis de Borbón (Arenas de San Pedro. Ávila)
• International Artists in Mallorca (July 2018). Collage. Eka Moor Gallery.
• International Artists in Madrid (June 2018). Collage. Eka Moor Gallery.
• Art of Woman (March 2018). Ceramics. Casa de Cultura de Soto del Real.
• Spring Salon (March-April 2018). Ceramics. Santana Art Gallery (Madrid).
• MAGRAMA (2015). Ceramics. Ministry of Agriculture.
• The Soul of Silence (2014) Ceramics. C.C. La Despernada (Villanueva de la Cañada).
• The Art that Became a Book (2013). Artist books. Tres en Suma (Madrid).
• ADDRESS (2013). Sculpture. Espacio Andrés Delgado (Madrid).
• Ilustrísima (2013). ABC Museum (Madrid).
• Childhood, All Childhoods (2007. XXX Children's and Youth Book Fair) Illustration.
• Illustrated Don Quixote (2005. APIM) Illustration. National Library.
• Tribute to Montserrat del Amo (Friends of Children's Book) Illustration.
• The Sea of Books (XXXI Children's and Youth Book Fair) Illustration.
• Ratón Pérez and the King's Tooth (2000. Friends of the Book) Illustration.
• Illustrated Little Red Riding Hood (1998. Friends of the Book) Illustration. National Library.
• Painting Poetry (1998). Illustration. Isabel de Farnesio Center (Aranjuez).
• Painting on Purpose for 27 (1998. APIM). Illustration. C.C. de la Villa (Madrid).
• Painting Poetry (1998. APIM) Illustration. Círculo de Bellas Artes.
• Urban Art (1984). Ceramics. Plaza Pablo Ruiz Picasso. Madrid.