Galería Rafa

Proyecto realizado con la ayuda del Ministerio de Cultura y Deporte

Daniel Verbis

“Objetos testigo”

OBJETOS TESTIGO (Witness objects), the new exhibition by Daniel Verbis (León, 1968), consists of a series of two recent large-format paintings, several works on paper, some collages made over the last few years and an installation of objects, books and small sculptures distributed on tables and stands that guide the visitor through the show. The exhibition is articulated around migratory objects, wandering objects that, having witnessed the activity in the artist’s studio for years, now seem to have found the right circumstance to make an act of presence, an occasion to be significant and to accommodate to a concrete idea, an occasion to become aware of their meaning and a way of presenting themselves. Like an initial stroke or sketch, these apparently irrelevant forms, these objects emancipated from any definitive meaning, have lived their day-to-day lives waiting for an opportunity to be functional and to attract our attention, an opportunity to be chosen and – by condensing an interest and elaborating a grammar- to become objects of “art”. Leaving behind an erratic life, these quasi-works of art have been shaping their idea: we are surrounded by gadgets and material objects, symptomatic entities of a mechanics of production that are the remains (unfinished) of that same mechanics of production.

In some of the works in this exhibition, the objects [sewing machine, typewriter, moulds, forms, handles, manuals (orthopedic, mechanographic, ocular)] bear witness to physical labour, to manual, industrial, craft, repetitive or machine labour…, to those poorly paid jobs, to the tasks of (man or woman)-father, to alienations of “modern times” from which one necessarily has to dissociate oneself if one wants to have a life. In a maze of office furniture and pedestals, WITNESS OBJECTS links a selection of amputated objects that seem to appeal to the anonymity of the author. These remains or proposals of objects are characterized by their condition of partiality, their unfinished character, bureaucratization…, they are trivial fragments that allude to the trivialization of the work, demonstrations of what has not been able to be represented, of what has not been achieved. Prosthesis of objects (without thesis). Humble fascination of what does not yet have its own voice. Humble fascination of what has not yet been synthesized, of the object that is about to be born. Sculpture-objects completed with glass panels or tulips, paintings without subjects that choose as their motif crude deformations of the posterior view of classical sculptures or draped fabrics essential for making colourful clothings that shroud the nakedness of desirable bodies; fragile motifs that in their fragile balance seem to appeal to a deconstruction of phalocentrism, to a phalophragilcentrism.

The object is made to idea because, being detached from a story, being in a state of flux, it is always capable of meaning something else, it always has the possibility of occupying another location. If the work of art is only definable when it comes of age, one can always think that the author is disowned when he shows incomplete objects that are simply witnesses of a particular process, witnesses of a life without identity. However, it is possible that the subject, the author, in this case Verbis, is indirectly portrayed in the unfinished. The unfinished, even if it is indefinable (and indefensible), is also, at the same time, the most authentic expression of the being under construction, authentic because by deferring the meaning, by leaving it in the air, it endows that being under construction with a life-thought still in evolution, with the possibility of continually readjusting itself and being something else once again.


León, 1968.
Licenciado en Bellas Artes. Universidad de Salamanca. 1986-1991.
OBJETOS TESTIGO. Galería Rafael Ortiz. Sevilla.
Cross-Dressing. Galería Pilar Serra. Madrid.
Tramadramas. DA2 Domus Artium 2002. Salamanca.
LEBENSBESCHEINIGUNG, (Fe de vida).Galería 100 Kubik. Colonia, Alemania.
Still life. Trinta Arte Contemporáneo. Santiago de Compostela, A Coruña.
Obscenográfico. Sala Amós Salvador. Logroño.
El animal en su laberinto: prueba caligráfica de una aparición. Galería Siboney. Santander.
Luz Mineral – Ser Visceral. Galería Maior. Pollença, Mallorca.
DOBLE RÉGIMEN: Cuerpo mineral- nudo visceral. Galería Maior. Palma de Mallorca.
Ser mirada y (desaparición). Galería Gema Llamazares. Gijón.
Ser anfibio y (mortal). Galería Pilar Serra. Madrid.
Histerianimal. Galería Rafael Ortiz. Sevilla.
Episiotomía ocular. Galería La Caja Negra. Madrid.
Quién sabe qué cosas hay dentro de ti. Proyecto LienzoMPH. Museo Patio Herreriano. Valladolid.
Pielquehacemasa·masaquehacepiel. Galería Javier Silva. Valladolid.
Geografía animal y carne de paso. Galería Siboney. Santander.Abismo nupcial. Diana Lowenstein fine arts. Miami, USA.
Devenir prenatal. Galería Max Estrella. Madrid.
OJO X OJO. Galería Trinta. Santiago de Compostela, A Coruña.
Vida Láctea. Galería Rafael Ortiz. Sevilla.
Male Line. Sala de Exposiciones Vimcorsa. Córdoba.
El pudor en la carne. Galería T20. Murcia.
Escuela de amor submarino. Asbaek Gallery. Copenhage, Dinamarca.
Hacia un fondo de perlas sin espíritu. Diana Lowenstein fine arts. Miami, USA.
Misojosentusojosderramándose. MUSAC, Museo de Arte Contemporáneo de Castilla y León. León.
CAMPO-ÓPTICO. Galería LA NAVAL. Cartagena, Murcia.
Corpus spongiosum. Galería Trinta. Santiago de Compostela, A Coruña.
Animal ciego. CAB, Centro de Arte Caja de Burgos. Burgos.
El ojo desnudo. Galería Max Estrella. Madrid.
Piel vuelta. Galería Rafael Ortiz. Sevilla.
Relevos (con Luis Gordillo). Museo Valenciano de la Ilustración y la Modernidad (MUVIM). Valencia.
Hombre-l’oeil. Galería Max Estrella. Madrid.
Humor propio. Galería Rafael Ortiz. Sevilla.
PREMIOS. Selección
Premio Al Libro de Artista III Edición. Fundación Ankaria.
Premio Cultura Emprende. Fundación Creativa Santander. 
Premio Ángel de Pintura IX Edición. Córdoba. Primer Premio.
Premio de Pintura ABC. Mención de Honor.
I Premio de Pintura Caja España 2000.
Premio de Pintura Fray Luis de León. Junta de Castilla y León. 
Primer premio Premio de Pintura L’Oréal. Madrid.
Adquisición Fundación Coca Cola España.
Adquisición de obra XII Salón Nacional de Artes Plásticas. Alcobendas, Madrid.
Premio de Pintura Diario de León.
Tercer Premio Muestra Autonómica de Artes Plásticas de Castilla y León.
CAB Centro de Arte Caja de Burgos. Burgos.
CGAC Centro Galego de Arte Contemporánea. Santiago de Compostela, A Coruña. 
Ayuntamiento de Alcobendas, Madrid.
Banco de España. Madrid.
Colección Aena.
Colección Artium.
Colección Ayuntamiento de Logroño.
Colección Ayuntamiento de Madrid.
Colección Caja General de Granada.
Colección Caja Madrid. Madrid.
Colección Cajasol. Sevilla.
Colección Diputación de Cádiz. Cádiz.
Colección DKV.
Colección Endesa.
Colección FEVAL-Institución Ferial de Extremadura. Badajoz.
Colección Fundación Barrié. A Coruña.
Colección Fundomar. Sevilla.
Colección Gobierno de Cantabria.
Colección L’Oréal. Madrid.
Colección Museo de Teruel.
Colección olorVISUAL.
Colección Pilar Citoler.
Colección Unión Fenosa.
Diputación de Ciudad Real.
Fundación Coca-Cola España. Madrid.
Museo de Arte Contemporáneo Junta de Castilla y León.
Museo Folkwang. Alemania.
MNCARS. Museo Nacional Centro de Arte Reina Sofía. Madrid.
Museo Patio Herreriano de Arte Contemporáneo Español de Valladolid.
MUSAC, Museo de Arte Contemporáneo de Castilla y León.
Museo de Bellas Artes de Asturias.
Perez Art Museum Miami. USA.