Tag Archives: jose maria sicilia

Estar a la lluna

FONTETA – Bombon · Joan Prats · NoguerasBlanchard

Capítol II: Estar a la lluna (Head in the clouds)


Opening: 7th of August, 12am-9pm

Exhibition until 26th of September

c/ Empordà, 10, Fonteta, Girona


August: Monday to Sunday, 5-9pm

September: Friday to Sunday, 5-9pm

or by appointment: (+34) 644 524 969



We’re delighted to present the second chapter of the joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard in Fonteta, a small village in the Emporda region.


The exhibition, conceived in two chapters (the first opening June 19th and the second August 7th) brings together artists from three different generations. The proposal begins with a concept from the Emporda Parar la fresca (to take in fresh air) described by Josep Pla in the book “Las Horas”.



Text by Gabriel Ventura



“Perhaps because for so many centuries it has been out of reach, it has awakened the most fantastical dreams, those which are most passionate and hidden. Its charm will always be on behalf of the nighttime, of the occult and intuition, of secrecy and excess. The moon -which dilates and dwarfs cat’s eyes, makes tides rise and fall, and inflates and deflates frogs continues to fascinate us with the same fervour of ancient times, even though we have already stepped upon it gingerly, and now some enlightened entrepreneurs plan to build hotels with galactic views. But let’s not fool ourselves: the colonising eagerness of Jeff Bezos and company will not be able to bring closer or make more comprehensible the mysteries of the White Hare or the Spider Woman.


Eternally distant, the moon has been worshiped by witches and vampires, by poets and fortune-tellers. As much as science tries to conquer it, the lunar mercurial light projects us towards remote and inscrutable futures, and invites us to reflect on the shadows and myths of the human condition. Throughout history we have linked it to fertility and the unconscious, to death and resurrection, to the repetition of life’s cycles. The first inscribed annotations on artefacts and tools from the Palaeolithic era consist of lunar records. In fact, is very likely that before the advent of agriculture, societies were organised according to a lunar temporal cycle, as demonstrated by Alexander Marshack’s research in The Roots of Civilization.


Unlike the sun, the omnipotent and constant star, the moon goes through phases; it waxes and wanes, dwindles, bends, and transforms. For this reason, there has been a historical tendency to represent what is immutable with the sun (God), and that which is changing and material with the moon (for example, Plato’s sublunar and mortal kingdom, the land of doubt and shadows). Inevitably, for millennia, human species has found its counterpart in the drama of the moon: being born, growing up, reproducing (the belly of the full moon), and dying. If the solar syntax divides and ranks –W.B. Yeats accused the sun of offering “complex and contrived” truths– the lunar syntax mixes and confuses the forms by being evasive, emotional, fluid. Symbolically, the moon evokes the imaginative, contingent, and ambiguous world of existence, which contrasts against absolute solar truths shaping an ideal world of being. It is impossible to look directly at the sun, it is impossible to enter into a dialogue with its dazzling presence. The moon, on the other hand, illuminates paths from the brinks of the sky and, in the words of Lorca, shamelessly shows its “one hundred identical faces”. Illusion, delirium, chimera, madness, chaos, dispersion (estar a la lluna 1): the attributes of the queen of the night suggest the transgression of daytime norms.


Lilacs and electric blues, striking yellows and raging reds, fluorescent greens that shoot up from the dark, like a scream piercing the conscience. The colours of the night sharpen the nerves as well as the eye; they make us untrusting, and we sense the intermittent heartbeat of danger.


A tremor runs down our backs: is it real, what we have seen? Can we believe in the images and words that appear under Selene’s cold light? Perhaps, deep down, being on the moon is one of the most fruitful and perplexing ways to be on Earth -not taking anything for granted, continuing to be suspicious, and looking up at the unfathomable secrets of the universe.


Gabriel Ventura



Capítol I: Parar la fresca (To take in fresh air)

Diàlegs intrusos

Diàlegs intrusos. Tot és present.

13.11.2020 – 7.11.2021.

Museu Nacional d’Art de Catalunya.

Comissariat: Sergi Aguilar i Àlex Mitrani.


La irrupció l’art de la segona avantguarda sorgit amb posterioritat a la Guerra Civil espanyola i a la Segona Guerra Mundial, representa no només una ampliació lògica de la cronologia del museu sinó que també l’aparició d’una sèrie d’obres que, pel seu esperit de modernitat i la seva transgressió de categories culturals i formats tècnics tradicionals, posa en qüestió les maneres de mirar i la mateixa concepció d’obra d’art.


Artistes: José María Sicilia, Joan Hernández Pijuan, Joan Brossa, Eduardo Chillida, Juli González, Lucio Fontana, entre d’altres.


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think about the size




“Escric amb rius i turons / sobre el paper de les planes”    Perejaume*


Spring has been marked by a radical transformation of our ways of moving, relating and exchanging. Suddenly everything has changed. Our perception of everyday things and also of the most relevant things has been questioned. What seemed essential to us becomes not essential. We have realized the precariousness of life, we have known the importance of solidarity, of family, of our loved ones, of our environment. Nature and the environment have also taken a leading role that they did not have before.


Facing this, we have dared to ask the artists of the gallery to participate in this exhibition that we now present, with works which they have carried out during this time of social isolation. They are diverse answers to the same question, they have in common the use of paper as a medium, common for some –like Victoria Civera or Perejaume– and unprecedented for others –like Hannah Collins or Annika Kahrs–.


The making of these works has been able to become an escape route, a tool to continue working despite the difficulties and, at the same time, they allow the spectator to enter the intimacy of the studios and the heads of their creators. They are, in most cases, works made at home, with house’s tools, testimonies of a unique and, we hope, unrepeatable moment.


‘Think about the size of the universe, then brush your teeth and go to bed’ takes the title of a work by the artist Annika Kahrs. Starting with humor, it invites us to reflect on the balance between micro and macro levels and on the search for meaning and identity within the unfathomable universe of which we are a part, reflections that become fundamental in the current context.


The result of this exhibition has been a series of diverse works. In some cases, we see that the themes that worried the artists, before the pandemic, have maintained their leading role or, even in others, they show fragments of their work process and are linked to future projects.


In other cases, we find proposals that speak directly of the current moment: reflections on personal relationships, the political situation, messages from the media or vulnerable groups such as children and the elderly.


Finally, we would also find a third group of works that focus on observing the closest environment and nature.



To provide you with more information and images, please contact galeria@galeriajoanprats.com



* “I write with rivers and hills / on the paper of the plains” Perejaume

ARCO Madrid


26/02/2020 – 01/03/2020


Booth 9C09




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Arco 2019


27/02/2019 – 03/03/2019

Booth 9C09




CAIO REISEWITZ Meeting with the artist and book signing, Altamira

Thursday, February 28, in our booth at ARCOmadrid 2019

Artium, Vitoria-Gasteiz

21.9.2018 – 25.8.2019


La exposición Queda mucho pasado por delante. Oroi nos enfrenta a la Colección de Artium como una imagen de la memoria, múltiple y compleja del presente. Memoria que nos constituye como personas, que da cuerpo al lenguaje y a la representación, al tiempo y al documento, al enigma y la sospecha. La exposición incluye 102 obras de la Colección, herramientas de análisis que abordan la memoria desde diferentes implicaciones sociales y culturales en su relación con la historia, la economía o el poder.


Artistas: Ignasi Aballí, Elena Aitzkoa, Vicente Ameztoy, José Ramón Amondarain, Guido Anderloni, Cecilia Andersson, Ibon Aranberri, Judas Arrieta, Txomin Badiola, Jordi Bernadó, Ramón Bilbao, Elena Blasco, Bleda y Rosa, Jacobo Castellano, Colectivo Cambalache, José Dávila, Jiri Georg Dokoupil, Pep Durán, Mirari Echávarri, Joan Fontcuberta, Susy Gómez, Abian González Francés, Eduardo Hurtado, Aldo Iacobelli, Carlos Irijalba, Iñaki Larrimbe, Abigail Lazkoz, Miki Leal, Mateo López, Isidro López Aparicio, Rogelio López Cuenca, Cristina Lucas, Mateo Maté, Asier Mendizabal, Elena Mendizabal, Haroon Mirza, Pedro Mora, Juan Luis Moraza, Moris, Antoni Muntadas, Jorge Oteiza, Benjamín Palencia, Alberto Peral, Javier Pérez, Txuspo Poyo, Concha Prada, Sergio Prego, Gonzalo Puch, Miguel Ángel Ríos, Pedro G. Romero, Francisco Ruiz de Infante, Ixone Sádaba, Ignacio Sáez, Avelino Sala, Fernando Sánchez Castillo, Olve Sande, Richard Serra, Adolfo Schlosser, José María Sicilia, Fernando Sinaga, Antoni Tàpies, Francesc Torres, Darío Urzay, Javier Vallhonrat, Joana Vasconcelos, Azucena Vieites, Darío Villalba, Robert Waters, B. Wurtz.


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La locura del ver, 2016-17

We present Phasma, the seventh exhibition by José María Sicilia in Galería Joan Prats, where we show his recent work, with abstract pieces that incorporate fabrics and embroidery and whose shapes come from sonograms.


The word that entitles the exhibition, Phasma, of Greek origin, designates the specters and apparitions and refers, as described by the artist, to “something that appears and disappears, a butterfly that goes by flapping its wings” and that “speaks of the light as a fold”.


In the exhibition, together with the Phasma series, started in Japan, we find the series of El Instante, collages made from drawings of the last ten years, and works from the series La Locura del ver. The creation process of this last series is linked to a sonographic technology that results from an experiment carried out by Thomas Young in 1801, which allowed for the detection of the wave nature of light through its diffraction across two networks successively distanced from a luminous source. This experiment serves as a starting point for a software that allows Sicilia to decompose the sound in order to create cartographies of lines and shapes, some drawings, painting, collage and embroidery compositions that result in the works of La Locura del ver.


This technology gives José María Sicilia a tool to reach a new depth. In this new development of his work we find everything that was already present in his previous artistic evolution: the strength of color, the movement of light, a fondness for the organic and the process of unification and opposition that, since the eighties, his painting have shown. His first production had a strong expressionist character and deepened in the monochrome of white. Later on, his career is marked by the discovery of wax as a material, by the appearance of flowers, beehives and also by photography. Sicilia is a restless creator who has based his work on the questioning of shape. He is an artist who interrogates, who does not accept molds and feels the need to break the formats, summoning the emotion of the spectator.


José María Sicilia (Madrid, 1954) lives and works in Madrid. He has recently exhibited in Museo Casa de la Moneda and Calcografía Nacional, Madrid (2017); Musée Delacroix, Paris (2015), Palacete del Embarcadero, Santander (2014); Matadero, Madrid and Fukushima Prefectural Museum of Art (2013); Hospital de la Caridad, Sevilla (2012); Maison Erasme, Brussels and Amos Anderson Art Museum of Helsinki (2010); Nagasaki Prefectural Art Museum (2008). His work is present in important public and private collections, among which stand: Centre Georges Pompidou, Paris; MOMA, New York; Fundació ‘la Caixa’, Barcelona; Colección Banco de España, Madrid; Collection Ville de Paris; MACBA, Barcelona; Galleria d’Arte Moderna, Torino; MNCARS, Madrid; Museum of Modern Art, Gunma, Japan; National Gallery of Australia, Canberra; Solomon R. Guggenheim Museum, New York; The New York Public Library, New York.

ARCO Madrid. 21/02/2018 – 25/02/2018




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Juan Uslé

MNCARS Museo Nacional Centro de Arte Reina Sofía, Madrid

27.09 – 27.11.2017 // 20.12.2017 – 05.03.2018


Esta propuesta expositiva, desplegada en dos muestras, presenta una amplia selección de las obras que forman parte del depósito temporal que en 2014 realizó la galerista Soledad Lorenzo al Museo Reina Sofía.

Punto de encuentro, la primera de ellas, aborda los conceptos de espacio y geometría desde diversas ópticas. Cuestiones personales, la segunda muestra, se centra en la recuperación del lenguaje figurativo, a través de un conjunto de obras de artistas españoles y extranjeros. 


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IVAM Institut Valencià d’Art Modern, València

20.07.2017 – 16.09.2018


Aquesta exposició tracta d’analitzar les pràctiques artístiques de caràcter abstracte desenvolupades des de la postguerra fins als nostres dies, des d’aquelles més sublims fins a les propostes més ideològiques, passant de l’objecte al concepte, tractant de desentranyar els seus significats i contradiccions, examinant les seues tècniques i procediments.

L’exposició recorrerà temàtica i cronològicament els moviments que van anar sorgint des que a la meitat del segle XX va irrompre al camp de l’art un gran escepticisme, no només generat pel patiment i la vivència dels diferents enfrontaments armats com la Guerra Civil Espanyola o Segona Guerra mundial, sinó derivat d’una profunda crisi de racionalitat oberta per les investigacions de l’anomenada avantguarda històrica.

Els nous plantejaments van eclosionar durant el període postbèl·lic units a les teories dels filòsofs existencialistes, reivindicant la subjectivitat i individualitat per sobre de qualsevol principi o pensament polític.


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José María Sicilia / La locura del ver

Museo Casa de la Moneda

Del 20 de Enero al 16 de Abril de 2017


La locura del ver

“Ver, ver más, ver siempre más. Ver es no ser. Lo importante del ver no es la suma de conocimientos que derivan del ver, sino la fisura, el sinsentido en el interior del ver, el accidente extraño.” José María Sicilia


En el marco del premio Tomás Francisco Prieto, el Museo Casa de la Moneda presenta la obra del artista español José María Sicilia (nacido en 1954) que reúne un conjunto de creaciones importantes, representativas de los tres últimos años e inspiradas en sus frecuentes viajes, sobre todo a Oriente Próximo y Japón.

José María Sicilia ha dedicado gran parte de su indagación pictórica a interrogar el espacio inmaterial que existe entre el arte y la vida, Eros y Tánatos. Más allá de su belleza inmediata, las obras de José María Sicilia nos llevan a territorios fronterizos, donde la memoria se pone en abismo.

Entre sus últimas exposiciones se incluyen las realizadas en el Musée Delacroix, París; Palacete del Embarcadero, Santander; Centre Pompidou Metz; Matadero Madrid; Fukushima Prefectural Museum of Art, Fukushima; Santa Caridad de Sevilla, Sevilla; Amos Anderson Art Museum, Helsinki; Prefectural Art Museum, Nagasaki; Musée du Louvre, París; Albright-Knox Art Gallery, Búfalo.

Las obras de José María Sicilia están presentes en importantes colecciones tanto públicas como privadas en Europa y Estados Unidos y Asia, incluyendo: Museum of Modern Art, Nueva York; Solomon R. Guggenheim Museum, Nueva York; M+ Museum, Hong Kong; Musée National d’Art Moderne / Centre Pompidou, París; CAPC Musée d’Art Contemporain, Burdeos; Fundació Museu d’Art Contemporani, Barcelona; Colección Arte Contemporáneo, Fundación La Caixa, Barcelona; CAAM, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria; Museo Nacional Centro de Arte Reina Sofía, Madrid; Colección Banco de España, Madrid; Colección Comunidad de Madrid, Madrid, entre otras.



Light on light, 2019

Madrid, 1954



José María Sicilia was one of the most significant representatives of Spanish painting in the eighties who identified himself with the young generation of artists that at the beginning of that decade, took up the practice of a `material´ perspective in painting


From 1985, Sicilia initiates a new series of works on the subject of flowers, by which he is specially recognized in Spain. This new thematic development would take him deeper in an investigation focused in the analysis of the shape, the construction of space and the structure of light.


In the abstract painting that this artist has developed lately, the use of wax acquires a main role for its possibilities of dialogue with light and the creation of spaces in the pictorial surface.