The career of Nono Bandera (Málaga, 1958) is the result of a combination of research, teaching and artistic practice. Professor in the Department of Drawing at the Faculty of Fine Arts in Pontevedra (University of Vigo), his career has been marked by experimentation with new ways of approaching painting. Intervened, expanded or applied to the world of objects, his incredible mastery of technique has allowed him to approach painting without losing sight of the essential: the creation of new perceptions of reality based on pre-existing scenarios that the artist transforms, personalises and enhances while preserving the signature of the original authors.
Perhaps this is why his work is often pigeonholed within the parameters of appropriationism. An appropriationism that we could describe as vintage and with which, paradoxically, the artist legitimises and renews genres considered to be out of fashion: portraits, landscapes, still lifes…
In Nono Bandera’s biography there are a few fundamental elements without which it would be impossible to read his work: the constant presence of his father, the painter Juan Bandera; the taste for irony and a sense of humour; the importance acquired by titles as a complement to concepts and contents; and the interactivity that, as a teacher, he maintains with the new generations of artists.
The curiosity, generosity and respect he professes for emerging art has allowed him to diversify, exercising curatorial practice on several occasions: Afinidades Selectivas #2 (Casa Galega da Cultura. Vigo, 2008); La Tropa de Misteriosas Manos Flotantes (Centro Torrente Ballester. Ferrol, 2011) or Soy tan loser que ni los feos me quieren (Sala X. Facultad de BBAA. Pontevedra, 2011), the latter a mural revision of the surrealist exquisite corpse where six young artists interweave their particular vision of art and life.
Artist represented by the Espacio Mínimo Gallery since 1997, his work is part of private and public collections, including the Museo Nacional Centro de Arte Reina Sofía (Madrid); Zabludowicz Art Trust Collection (London); Centro de Arte Contemporáneo de Málaga (Málaga); Deutsche Bank Collection (Frankfurt); Luciano Benetton Collection. Ponzano Veneto; Palma de Mallorca City Council; UNICAJA (Malaga); Malaga Provincial Council; A Coruña Provincial Council; Murcia Ministry of Culture; San Carlos Academy Museum. Mexico City.ww.nonobandera.es
ENJOY THIS ARTIST IN:
The large windows of this semi-interior holiday apartment look out over the interior courtyard that is enlivened by the garden and the sound of the water playing in the fountain, while a series of high windows capture the morning light from Rua de Entre Quintas. This holiday apartment has a spacious living room with a workstation and a kitchenette. Being on the ground floor and facing the courtyard gardens, means that though this may not be the most illuminated apartment in the building, it does mean that it is one of the most peaceful. The wooden floor provides warmth and comfort.
Apartamento Massarelos II
This holiday apartment has a delightful living room that looks out onto Rua da Restauração and is connected to the kitchen. The windows being open to the light of midday and the evening, make the apartment very luminous. The wooden flooring provides both warmth and comfort.