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DIN MATAMORO. A look ablaze


4 June 2021 - 9 January 2022
MARCO, 1st floor galleries
Tuesday to Saturday (inc. holidays) from 11am to 2:30pm and from 5pm to 9pm. Sunday from 11am to 2:30pm
MARCO, Museo de Arte Contemporánea de Vigo
Miguel Fernández-Cid
Pilar Souto Soto

For his exhibition at the MARCO, Din Matamoro (Vigo, 1958) takes as a starting point a famous premise by Kandinsky: “White is a deep, absolute silence, full of possibility”. This exhibition brings together a selection of his latest works, focused on the study of colour. It also includes previous pieces which, in line with his whole oeuvre, involves an essay on perception, its mechanisms and emotions.

Din Matamoro paints canvases that seem monochrome in appearance and he does so slowly, carefully applying successive layers of material. Perhaps that's why we perceive them as dense but never static. Whoever stands before the works, observes them with curiosity, devotes time to them, eventually feels shapes and colours coming out, hidden behind the last layer, under the paints' skin. Paintings reveal what happens inside, the paint as living matter, slow mystery and an inner space of rumours. It is the eye that questions; the paint that seduces and dialogues.

Din Matamoro lives among images: some of them he draws with unusual voracity, some he finds in everyday objects, some he builds, some he writes, and some he paints. There is no downtime or lucky breaks, everything is a process, getting ready for the moment, with a watchful, sagacious, generous eye. His mind and his workshop are always on the boil, but there is a firm — upright — certainty to his chosen destiny, his attitude, his rigor, and his pulse. He confesses he is full of hesitations around paintings, about how they are perceived, but he is aware of the light inside them which ends up revealing itself.

The rightful place for Matamoro's paintings, which are naked only in appearance, is alongside a timeless and contemporary painting which was an epoch-defining and brought new ways of looking and understanding. Paintings of touch, of balance, but also of disclosure, of unveiling; paintings to walk around, to talk about. Alive painting.

Miguel Fernández-Cid and Pilar Souto Soto


The Library-Documentation Center at MARCO has prepared a documentary dossier, which brings together links to articles and other information about the artist which is available on the website at Library/News and Exhibitions/Current.

Learning activities

With the support of: Obra Social “la Caixa”
From 14 September, 2021
Hours: Tuesday to Friday from 11am to 1:30pm / For booking please call +34 986 113900 Ext. 100/ +34 986 113908

Summer Workshops for Children

With the support of: Obra Social “la Caixa”
From 29 June to 29 July, 2021
Hours: Tuesday to Friday from 12.00 to 2pm / For booking please call. +34986 113900 Ext. 100/ +34986 113908

Information & guided tours

The exhibition staff is available for any questions or information, as well as regular guided tours:

Daily at 6pm
‘A la carte’ group tours, please call +34 986 113904 / 113900 to book

Interactive routes through the Vigo App

In addition to guided tours, the new interactive route system through the ‘Vigo App’ allows visitors to access all kinds of content about the exhibition (videos, images, specific information about the works), either in the space itself through the beacons or bluetooth devices located in the exhibition rooms, or anywhere else, following the route from the mobile screen once the application has been downloaded , or from your computer through Concello de Vigo’ website.


Din Matamoro

Din Matamoro (Vigo, 1958) graduated in Fine Arts — Painting and Engraving — at the Universidad Complutense de Madrid. He took part in the Talleres de Arte Actual [Actual Art Workshops] with Antonio Saura in the Círculo de Bellas Artes [Centre of Fine Arts] of Madrid and in the two first Muestras de Arte Joven [Young Art Show] exhibitions. He also participated in diverse group shows during the 80s such as Circulando at the Círculo de Bellas Artes, Punto, Periferias, and Acta 88, among others. He obtained the Colmeiro scholarship with Berta Cáccamo and Antonio Murado, and the Fulbright scholarship (New York, 1988-89) given by the US-Spanish Joint Committee for Cultural and Educational Cooperation, as well as the Real Academia de Bellas Artes de España en Roma [Spanish Academy of Fine Arts in Rome] (1990-91) and the Banesto scholarships. He obtained the second prize in the Bienal de Pontevedra [Pontevedra Art Biennial] in 1990.

He has been a member of the Real Academia Galega de Belas Artes [Royal Galician Academy of Fine Arts] since 2015.

His first solo shows were at the Oliva Mara gallery in Madrid, the Abel Lepina gallery in Vigo and in the first happening of ‘Baiona Horizonte Atlántico’ [Baiona Atlantic Horizon] with Carlos Oroza, at the country house of O Toutizal. He showed his oeuvre made in New York and Rome at the Antonio Machón gallery, in Madrid. He also exhibited at the Casa da Parra and the Trinta galleries, both in Santiago de Compostela. Furthermore, he exhibited at the Seiquer gallery in Madrid, the Marisa Marimón gallery in Ourense, the Masha Prieto gallery in Madrid, the Fernando Silió gallery in Santander, and the Alebús gallery in Elche. He had several solo shows as well, exhibiting at the SCQ gallery in Santiago de Compostela, the Atlántica gallery in A Coruña, the Álvarez gallery in Porto, the Dos Coimbras gallery in Braga, or the VGO gallery in Vigo.

In 2005, he exhibited his solo show Imágenes Mentales [Mental Images] at the CGAC, the Galician Centre of Contemporary Art. Afterwards, he travelled to the Museum of Contemporary Art CAMeC La Spezia, in Liguria (Italy). He had three solo shows in the Caja China gallery in Seville. He took part in group shows at the CGAC, and in the Entre el Cielo y la Tierra. Doce miradas al Greco 400 años después [Between heaven and earth. Twelve glances at el Greco, four hundred years later] exhibition at the Museo Nacional de Escultura in Valladolid and the Real Academia de Bellas Artes de San Fernando in Madrid. Also, in group shows at the MARCO, the Museum of Contemporary Art of Vigo, Pintura Mutante [Mutant Painting], curated by Ignacio Pérez-Jofre in 2007 and El boceto del mundo [World Sketch], curated by Ángel Cerviño and Alberto González Alegre in 2013. He has participated in different Contemporary Art fairs such as ARCO, ESTAMPA, or JUSTMAD. Recently, he exhibited twice at the Trinta gallery in Santiago de Compostela and at the Combustión Espontánea gallery in Madrid, with both a solo and a group show.

In June 2021, the MARCO, Museum of Contemporary Art of Vigo, organizes the solo show: A LOOK ABLAZE, as an exhibition of Din Matamoro’s last works.

Artist's text

“I paint with natural light, a light that shifts and changes. My pictorial oeuvre does it too: it transforms itself in front of those who contemplate it.

I started a long time ago from the white, the awakening of the light, the colour, to achieve the immaterial. At the beginning I rejected the material, I stayed motionless in front of the screen and, as time went by, I realised that there is no greater satisfaction in the result than painting with paint and its thickness. Paint always gives both security and confidence, in every sense. Painting is a physical act, a battle against the material in a support that must be transformed for the images to emerge naturally. It is like building a skin on top of the canvas framework.

As working time passed, colour and synthesised forms appeared in my works. However, my intention was for the paintings to be as ethereal as forgetfulness. So, I started to discover that changes in my perception of the paintings and in the chromatic intensity emerged; there was life in the artworks while I observed them.

Light and colour from the inside of the painting moved on the retina with immateriality or evanescence. I saw this sensation sometimes, when I arrived at the untidy studio and perceived that my finished artworks had changed in such a way to seem as if I was seeing them for the very first time. Sometimes, I didn’t recognise some of my paintings at the gallery, as if they had dressed up for the occasion. My brain needed to understand again, the pieces of art demanded I stop in front of them so they could show themselves to me.

These paintings I’m presenting demand spectators stop and contemplate them, and it’s then when the changes needed to perceive them occur in their brains.

I work with bright colours in expansion, with the same colour range; colours that are generally warm and without limits, lines, brushstrokes, or gestures. Diffuse extensions that make colour float in spaces that seem white but are not. Colours are nourished by the spectators' gaze, which discovers non-existent nuances, or ones that are hidden and come out to meet them, as if the spectators completed the artwork. We can describe them as living paintings; they aren’t frozen in time, like a gesture, a short or long brushstroke that ends somewhere in the painting, or a static, abstract or figurative representation.

On the other hand, there is the drawing. For me, it’s a fundamental tool: drawing is in the mind, in the way of looking of the days, in the papers, in the notebooks, in the books that serve me as painterly brushstroke exercises, an obsession to avoid losing manual dexterity, playfulness and surprise, or to research for possible changes in the representation. I draw everyday with my gaze and my hand, with the twist of my wrist, via everyday life.

I use the curved line, and it gives me back vivid images. I observe the winter branch, the path it draws, the horizon and the wave, the cloud and the tree, the animals or the human body. I surprise myself in the cooking routine when peeling a clove of garlic, an onion, a potato… or when cooking an egg. My brain recognises serendipitous shapes or profiles that bring me back to drawing and I record them via photography.

A constant feature in my life is forgetfulness and the uncertainty it provokes. With the work Mitad de la Memoria [Half of the Memory], I wanted to reflect this idea. An obsessive and ongoing piece that I present via twenty-one volumes of an encyclopaedia. A compendium of knowledge and collective memory in which I erased part of the information via my language, changing prosaic information for another ethereal kind related to space, forgetfulness, and future uncertainty. In some pages, the human being appears as a trace or a passenger of memory.

Besides the pictorial work, there are also papers and drawings, and other books of exercises of memory and forgetfulness, synthesis, and freedom, forever in process throughout all these years.”

Din Matamoro