guinovart

Espais Volart, Fundació Vila Casas, Barcelona

Inauguració 24.1.2019 – 19.30

Exposició fins 19.5.2019

 

 

L’exposició La realitat transformada aporta noves mirades sobre el discurs plàstic de l’artista i aprofundeix en el fet que Josep Guinovart, avui dia i deu anys després de la seva mort, segueix connectant amb les diferents generacions de crítics i comissaris, amb una obra de rabiosa actualitat. L’exposició posa l’èmfasi en la capacitat de l’artista per transformar la realitat i alhora reinventar-se constantment. L’eix conceptual que actua com a factor transversal entre els diferents apartats expositius es basa en el fet que Guinovart, a través de les seves obres, viatja des d’allò més local i primigeni fins a allò més universal i infinit.

 

La mostra, tot i que no es presenta com una retrospectiva, compta amb algunes de les peces més significatives de les diferents etapes de tota la trajectòria de l’artista. Així mateix el recorregut, que no és lineal en el temps, s’endinsa pel frondós bosc de la creació de l’artista, i salta, ara i adés, per temes, tècniques, èpoques i matèries per explicar, en un instant final, l’extraordinària coherència d’aquest artista clau de l’avantguarda plàstica catalana de la segona meitat del segle XX.

 

 

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Matèries en erupció 1975-1985

Opening, December 13th, at 7pm / Exhibition, December 2018 – February 2019

 

 

We present, within Any Guinovart, the exhibition Matèries en Erupció 1975-1985, with a selection of works of a relevant decade for Guinovart’s career, years in which he established an intense relationship with our gallery and also signified his international acknowledge with exhibitions at Martha Jackson Gallery in New York (1979), at Espace Cardin in Paris (1979), at Rizzoli Gallery in New York (1979) and at the Venice Biennale (1982).

 

As Alexandre Cirici mentions: “during the seventies, Guinovart had been dissolving operations of purification, of deliverance, of what Jung named “the descent to Hell” and had been finding the equilibrium of a complete maturity which touches in all the registers of his complete, splendid and critic vision of human society and the material environment that surrounds him, with the confidence of a great organist”.

 

The exhibition we set out is partly inspired in the spring of 1979, a date when three significant exhibitions were being placed in the city of Barcelona, at Galeria Joan Prats, at Galeria Trece and, above all, Matèria-suport-estructura at Fundació Joan Miró, three synchronized exhibitions which passed by three different ways but with the same shared destiny: the approximation to reality.

 

Of all Guinovart’s works of this moment stands out the labor with clay, introduced since a travel to Algeria, where he was shocked by the presence of soil, the desert and the adobe architecture. The main protagonist of this period is the material, the fibre cement too, the contrast between hardness and roughness of the support and the absolute spontaneity of graphics. Although Guinovart is an artist who transformed his works from “internal combustions”, he was also conditioned by the world that surrounded him: the nature of Castelldefels, where he has his atelier, the rural environment which marked his childhood, like Agramunt, and also the cities of Barcelona, Paris or New York.     

 

“I constantly need the resource not of transgressing, but of getting out of the limits of what painting is. For example, collage, the elements that go from inside to outside and from outside to inside: many times someone has made the mistake of positioning me as an artist of collages, because there has been in me an intention of working from inside to outside rather than the opposite. It isn’t about gluing nor everything appeares from the base of the volcano. There is a feeling of the material being threw from inside, just in the opposite way of how we understand the collage. It isn’t the fact of painting-painting, it is a more existentially poetical aspect. What worries me is the background issues”

 

(Interview to Guinovart, El Guía magazine, October-November, 1991)

 

 

Josep Guinovart (Barcelona, 1927-2007). After an autodidactic education, he started his career as a painter in the forties in Barcelona. His paintings, marked by figuration, evolved to abstract collage linked to informalism by politicizing and expanding himself until breaking the limits of pictorial language, approaching to sculpture and installations. He received several prizes and awards, like the prize Ciutat de Barcelona d’Arts Plàstiques (1981), the National Award of Visual Arts of Spain (1982) and the National Award of Visual Arts of Generalitat de Catalunya (1990). Among his monographic exhibitions stands the one at Danubiana Meulensteen Art Museum, in Bratislava (2004), the one at La Pedrera in Barcelona (2002), Guinovart. Itinerari 1948-1988, at Tecla Sala in Hospitalet (1989) which traveled to Germany (Vila Merkel, Esslingen am Neckar; Museum Bochum, Bochum; Katalanischen Sommers in Hamburg), the exhibition at Fine Arts Museum of Long Island (1987), Matèria-suport-estructura, at Fundació Joan Miró in Barcelona (1978) and Contorn-entorn at Galeria Maeght in Barcelona (1976). In 2018, on the occasion of the tenth anniversary of his death, it have been celebrated Guinovart Year with exhibitions in various centers in Catalonia and abroad.

 

 

Galeria Joan Prats would like to thank Maria Guinovart and the Fundació Espai Guinovart for their collaboration in the realization of this exhibition

 

For more information and images, contact  galeria@galeriajoanprats.com

 

Pablo del Pozo

Badajoz, 1994

Lives and works in Barcelona

 

The works by Pablo del Pozo have a strong autobiographical character, linked to the experiences of the artist. The feeling of belonging to a place, displacement and nostalgia are subjects that concern him. From the characteristics of the materials used (clay, plaster, pigments and also found objects), he seeks to talk about the precariousness of life, thus generating a reflection on the daily reality.

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“De aquellos barros estos lodos”, con Bea Espejo

La Casa Encendida, Madrid

23.1.2019 – 19.30 h

Presenta: Alicia Ventura, responsable de la Colección DKV.

Charla posterior entre Bea Espejo y Teresa Solar, artista.

 

 

“De aquellos barros estos lodos”, con Bea Espejo (crítica de arte y comisaria).

La cerámica se ha convertido en el gran borrador donde los artistas ensayan relecturas de lo popular tensando la tradición y buscando nuevas alternativas en el campo de la creación. Cada vez son más los artistas que indagan en las posibilidades del barro y su relación con el lenguaje y el pensamiento. Explorarlas exige contextualizar su significado y los roles históricos de su práctica formal. Esta conferencia hará un repaso por algunos referentes de este medio y el acercamiento, a veces directo y otras transversal, que muchos artistas tienen con la tradición y la artesanía.

 

Durante los meses de enero y febrero La Casa Encendida os invita, de la mano de Cervezas Alhambra y su Premio de Arte Emergente, a disfrutar de una serie de conferencias en las que artistas, artesanos, comisarios y expertos del mundo del arte, como David Barro, Teresa Lanceta, Bea Espejo, la Real Fábrica de Cristales de La Granja o el Centro Cerámica Talavera, se reúnen para hablar de los diferentes usos de la artesanía, la importancia de los procesos de creación artesanal y su inclusión en los lenguajes del arte contemporáneo.

 

Las charlas estarán dirigidas por la comisaria del Premio Cervezas Alhambra de Arte Emergente, Alicia Ventura Bordes.

 

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