José Cobo presents his work during the month of April at the National Center of Photography – El Faradio

The sculptor author of figurative works such as the Monument to Ráqueros in Santander

Until the 30th, the National Center of Photography will host the exhibition “Doubt Presented” by artist Jose Cobo, which will remain open until the 30th of this month. The exhibition is curated by Carlos Alcorta and is quite an artistic event as it is the first solo exhibition by sculptor José Cobo in Torrelavega.

As the Culture Adviser, Esther Velez, explained for the occasion, some recently completed works will be on display specifically for this exhibition, in addition to works previously made. Sculptures, photographs, video installations, and some drawings are included.

Regarding the title ‘Doubt, Given’, he pointed out that it referred to the designation of the artistic movement of the first avant-garde (the word ‘Dada’ was chosen randomly in its time because it lacked meaning. The given sound became ism, ‘Dadaism’, today’s word has a specific meaning Dadaism is the method of making art that has permeated more in the present through practices such as decontextualization, compositions, and “performance”), and this state aims to temporarily recover the meaninglessness of the original word by multiplying its loudness by another word with the same sound. Stuttering that is preserved when uttering a certain doubt expresses the artist’s position before his work.

Born in Santander in 1958, Kubo is one of our most international artists. He moved to Madrid in 1975, the city where he began studying architecture, which he soon abandoned to devote himself to the arts. In 1983 he moved to Chicago, where he received a scholarship from the School of the Art Institute (SAIC). He graduated with a Master of Fine Arts (MFA) degree in 1986. He completed his studies in Art History and Criticism at SAIC (1995). In the meantime, and in the following years, he worked as a professor in the Department of Sculpture at the same university between 1993 and 1997. He moved from Chicago to New York where he lived, devoting himself exclusively to art from 1997 to 2002. After a brief stay of half a year in Frankfurt (Germany) ) settled in Santander.

He has authored several public sculptures, among them the “Raqueros” group that stands out in the Santander port because it has become an emblem of the city and its representation on the tour buses that pass through it.

He was awarded a Botín Foundation Scholarship in the Second Call for Fine Arts Grants (1994), Cantabria Prize for Fine Arts (2014). Recently won the international competition for permanent installation “Wächter” in Arche Nebra, Germany, (2020-2021).

Jose Cobo

Jose Cobo was born in Santander (1958). He lived in Santander, Madrid, Chicago, New York and Frankfurt. Master of Fine Arts in the Department of Sculpture at the School of the Art Institute of Chicago (1986) and a Certificate in Art History and Criticism (1995) at SAIC where he was also Professor of Sculpture.

He studied “Sculpture, Art History, and Criticism” at the School of the Art Institute of Chicago, graduating in 1985 with a master’s degree in sculpture and then teaching in the sculpture department. Later, in 1995 and at the same university, he received a degree in Art History and Criticism.

He studied mural painting and stone carving at the San Fernando School of Fine Arts. From 1994 to 1997 he taught at the Art Institute of Chicago.

Visiting artist at Vermont Studio School, Oxpo Michigan, University of the Basque Country in Bilbao, 4th Technology Conference at Complutense University of Madrid and Master’s course at Universidade Menendez Pelayo International.

She has solo exhibitions in Spain, USA, Belgium and Germany and participates in some art fairs: Art Miami, Art Chicago, Art Cologne, FIAC Paris, Art Bologna, Art Brussels, Art Karlsruhe, MACO México DF or ARCO Madrid.

His sculptures are developed in a peculiar form, combining neo-expressionist, surrealist and postmodern elements.

Nudes made of multicolored clay are especially interesting. In these polychrome sculptures, conceptual concerns can be seen, with direct references to the poetics of Joseph Beuys. He also resorts to sculpting cast in bronze, giving the utmost importance to the patina effects.

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