Angela doing an interview for the #TVE1 tv news in #lissongallery while installing her new work in the viewing room opening on the 24th of November

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Angela de la Cruz has been repeating herself for the past fifteen years. The new show that is opening at Lisson, November 24th, presents more of her title-injected allegorical paintings-turned-objects and, at this point, one can perceive a certain effort form the gallery part to raise her public profile.

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Angela, Please Transfer!

In a show in Milan five hears ago, Angela went  back to the elegant monochromatism that is uncharacteristic of her work and that appeared for the first time in her last London show at Lisson called Transfer (2011). In that show, Nicholas Logsdail tried to profit from the fact that she was in a wheelchair, on one side, and in the fact that she had been nominated for the Turner Prize by her outstanding show at the Camden Arts Center. In Camden, Angela had poetically articulated the language of minimalism injecting a narrative that worked amazingly as a conflation of the artist life and the artist academic concerns which aimed at a drastic redefinition of minimalism.

Nicholas Logsdail: Pushing Prices Up To Balance NHS Deficit
The Art is Present But Not For Long?

What she showed at the Turner Prize was badly curated and negotiated. It was utterly dissappointing to see how this woman is horrified when she is on the verge of making it. Her fear of success must be linked to the fact that she is just a fat Galician village girl and there must be some kind of guilt going on that can only allow her to own her talent when it is linked to the tragedy of the narrative of her life which, as with all of us, is more inside her head than anywhere else. Of course, in their already legendary ethical manipulations, Lisson did not waste one second and went all the way. In Transfer the sales pitch of their sales girls (Elly Ketsea and Valeria whose surname I already forgot) was as follows: ‘the theme is her painful experience when she was in the hospital after she had a stroke and on fear of paralysis she was submitted to all kinds of treatments that compromised her personal integrity and sense of self’.

I Toast To Angela’s Pain and Reovery (Logsdail dixit…)

In the cocktail of celebration of her Turner Prize nomination, Nicholas Logsdail offered a toast while being totally inebriated which mainly said: ‘I toast to Angela who as we all know almost died and that is so terrible. She fought so hard to survive and now she is with us producing this’. I though: ‘Can we talk about the work please?’After that Elly Ketsea said to me: ‘the prices are high because the NHS refuses to pay for her treatment so she needs to carry on producing at that price’. Brilliant! So the work of the gallerist is not to take care of their artists then but to push them to the limit in order to get medical attention? The result is that the way the flooded the market with her expensive works now cannot hold the interest in the auction houses.

One Flop After The Other At Auction

I took back one of flagship pieces which is one of the best pieces of art in a long time called Torso by Angela de la Cruz because I considered that it would not reach a good price at Sothebys’ and would hurt her career. I have contacted both the gallery and the artist and have not received any answer. Their arrogance is uncanny and it shows in this last Milan show where she uses the same logic used in Hurt (2011) and the structures of Torso (2007) and the coffin-sized boxes of her transfer shows. She is far too young for repeating herself so much and I am starting to think that she is one trick pony and that her brilliance was all inside our minds.

I guess the problem is in the galleries that she chose to be represented by. They are too corporate and they demand such a high cut as middlemen that they push her constantly to the limit and not in the creative way. I dont think she is going to have another stroke in the future so both Helga de Alvear and Lisson will easily discard her in, shall we guess……. two years.