I work for projects and each exhibition as a concretion, a possibility in many others.   I work in a circular and concentric manner, circling around the same axis that I go to successively, surrounding and deepening. I make very detailed distribution plans until I determine the place that each piece will occupy. Vacio del contenido has the appearance of a container, similar to what we could find in construction materials.    The title of the exhibition alludes to the minimalist ideology, which turned the cube into the maximum expression of its program and the rest of the cubes that have been made afterwards, dialoguing with that ideology.  
 The works are related to the urban environment or the artificial world in which we have decided to live in. The rest of the works of the exhibition, need a wall, all suggesting that they cover an interior hollow.    These wall works, which in reality are sculptures, maintain the aesthetics of painting, at least a painting which is not illusionistic, objectual, but with the idea that "what is there" is never only what is there.    While making the "vents", which look like neoconcrete geometric paintings, I remembered Lucio Fontana perforating the canvas, with the idea of ​​giving the painting a character contrary to flatness. That's why I've dedicated one of my vents to him.    The title of the exhibition aims to allude to this dichotomy between form and content that a certain aesthetic seem to hold.    An empty container that is presented as a work of art in a space for art, must necessarily have a meaning, a content, an exhibition, that has a content, is presented as empty. That paradox has taken me to title the exhibition as well".  

  Guillemo Lledó is an artist who became well known in the 80s. He has an artistic career based on rigor, coherence and silence. His works are ones that teach poetic enrichment of everyday experience, proposing a contemplative attentive look towards the anonymous and serial objects of the urban environment. His work is situated in a framework with industrial references. In his works, that paradoxical slide between uselessness and functionality emerges. (Santiago Olmo)

  In his art works we find no hurry, there is time where you can look precisely at the time.  The work of Guillermo Lledó has always been a work that has pointed towards isolation, made a concrete type of silence. An expressive silence, an immanent austerity in materials and colors. (Rosa Olivares)    

 The structures of Guillermo Lledó are assembled in locksmith workshops; the type of industrial materials.  These works are characterized by their ability to contain, and are susceptible to have or seem to have had something inside.  The sculptures have the property of containing, but what these sculptures contain, is not something material and it does not take the place of the hole practiced in them, it is something spiritual, emotional- something that is trapped within the limits of the work.  The artist looks around and finds that the environment in which he lives is formed by a second nature constituted by objects that work, that with a dull rumor pretending to imitate the habit of life. (Javier Maderuelo)  



  GUILLERMO LLEDÖ Madrid 1946


1964-1968 Studied at the Superior School of Fine Arts of San Fernando and holds a PhD in Fine Arts from the Complutense University of Madrid as well as being Professor of Didactics of Plastic Expression. 
Among the many individual exhibitions, some notable exhibitions have been in the Gallery Egam (Madrid 1980, 1996 and 2005) and the Palace of the Counts of Gabia (Granada 1987) Barjola Museum (Gijón 1997) On both sides at the Art Center of Burgos CAB 2006 Memory of the place in the Center of Contemporary Culture of Granada 2013. Among the collective Hall of the 16 Spanish Museum of Contemporary Art: Madrid 1981 Contemporary Spanish Art. Juan March Foundation. Madrid 1982.The space and the idea "La Caixa" Foundation Barcelona 1991. Between the Presence and the Representation Atlantic Center of Modern Art Las Palmas de Gran Canaria 1994 Shape and Figuration. Guggenheim Museum: Bilbao 1998. Spanish art of the 80s and 90s in the MNCARS. National Museum Centro de Arte ReinaSofia Enlaces. Patio Herreriano Museum of Contemporary Art. Valladolid 2005. Based on real facts ARTIUM. Vitoria 2010. His work is represented in collections such as: The Reina Sofía National Art Center Museum. The Museum of Fine Arts of Boston, The ARTIUM The Herrerian Patio Museum of Contemporary Art. Valladolid La Caixa Barcelona Foundation Juan March Madrid Foundation CIRCA.Madrid Collection.