A painting party in is Baluard

In this context now an attractive exhibition project arises in It’s Baluard that affects and reflects on all these factors. It’s about a plural proposal composed of four samples, a collective and three individuals who, coinciding with the twenty -first anniversary of the museum, are inaugurated simultaneously. Let’s go in parts.

‘Nachleben. Painting as conceptual art ‘, First part of the curatorial trilogy ‘Nachleben’, is a collective exhibition, conceived from works of the collection itself is Baluard, together with the contribution of others, including the recent deposit of the Barrié Foundation, which proposes a reflection on some fundamental vectors of the recent contemporary art, mainly the conceptual categorization of painting.

Logic questions

In this sense, David Barro, director of Es Baluard, and who practically premieres here with personal projects, points out: «We want to ask us many questions: why is painting potentially the most conceptual art form of all that exist?; Why can any image be a painting?; Why is the appearance of abstraction for many the most decisive artistic event of the twentieth century?; Why do we keep talking about painting? »…

Interesting questions but above all relevant, which I share in their entire . In direct relation to this exhibition, the Canarian artist Laura González Cabrera He has painted a large -scale mural on one of the input glass cloths to the museum, in which he plays, as usual in his work, with encrypted words and texts that this time refer to the title of the appointment. Title that, by the way, in turn refers us to the concept of ‘Nachleben’, that philosophical idea of ​​survival of certain cultural products that already treated Benjamin and Warburg.

For its part, the magnificent exhibition ‘Jessica Stockholder. Cardinal points’ It comes to demonstrate the importance of this American artist (1959) within expanded painting. With different objects of everyday use that populate the space and walls of the room, it suggests an intermediate landscape between pictorial flatness and three -dimensionality of sculpture and architecture. Its syntax is debtor of painting in its composition, color, rhythm or gesture but the resulting overflows the limits of the frame to become volumetric representation. As’ Local Chromatic Note ‘, two islanders’ artisans and wicker have collaborated with her.

For its part, ‘Eugenio Dittborn. Aeropostal Paints’, It has been a happy surprise. This artist (Santiago, Chile, 1947) is a reference for Latin American art, possessing great international prestige in the field of conceptual. However, he has not counted in Spain too much exhibition. In fact, this is its first individual sample nationwide.

In the eighties, Dittborn It began to develop a creative process certainly original combining iconographic elements on paper that obtained from publications and media to which it granted a pictorial and photographic dimension, and a clear will for social and political criticism. These images, once composed, were folded and stored within envelopes to, then send them by postal mail to different parts of the world where they would be exposed. A very peculiar procedure that housed resources from the ‘Mail Art’, of painting and the concept of travel and itinerance. Very good sample.

Finally‘José Fiol. The Green Fog ‘, Close this initial exhibition cycle. This is the first of a series of projects aimed at publicizing local artists and commissioners. Fiol proposes a sequential narrative painted about two events that may allegedly seem unconnected, such as Wimbledon’s final of 1975 and the personal cinematographic version of ‘Vértigo’ (1958) through the experimental film ‘The Green Fog’, of the director Guy Maddin. It is a pictorial story elaborated with a rhythm based on triptychs that seeks to generate different meanings and connections but that leaves me conceptually and emotionally somewhat cold.

As a complementary activity to this true painting party, on Friday, January 31, it took place in the museum The ‘think paint’ seminar, with a series of conferences and round tables and the contest of various specialists as well as some of the artists participating in the different exhibition projects.