Miquel Navarro (Valencia, 1945) has just inaugurated his exhibition in Zaragoza, in the Mobility City that Zaha Hadid designed for Expo 2008, and he is leaving for his homeland, for Mislata, where his house, his studio and the year he The Foundation is coming that will carry its shadow. His land has been devastated by the DANA, cut off, but he takes secondary roads to arrive as soon as possible. He says that his dogs are alone and, logically, he is worried about everything that is happening there. It is contradictory that Miquel Navarro, accustomed to designing orderly cities, with a solid futuristic style, faces so much destruction; to a kind of end of the world never before imagined, not even in the most dramatic apocalypse. Perhaps it will inspire his new creations and if so we will see it in future exhibitions of his work, because Miquel Navarro, at seventy-nine years old, does not stop working. Small pieces of iron, of clay, in a montage that invites you to touch it, manipulate it in its many details as well as in its entirety. However, now, it presents three of its characteristic cities, dated from different periods: ‘City 84-85’, from of the funds he keeps in the foundation that bears his name; ‘A city in your hands’ (1998), from the Generalitat Valenciana, and ‘Fluid in the city’ (2003), from the Valencian Institute of Modern Art (IVAM). The three scattered on the floor, placed as in a meticulous puzzle, evoke civilizations of the past and allow you to travel to settings close to science fiction. In fact, they are accompanied by videos that play with these metaphors at all times. “Sometimes it is the material itself that dictates its law, other times it is the idea of ordering chaos or disordering what already exists,” says Miquel Navarro. Indeed, we will see small pieces of iron, of clay, in a montage that invites us to touch it, manipulate it in its many details as well as in its entirety. And, quite the opposite, it also makes you feel very small, tiny. Overwhelmed. That order and disorder that he himself talks about and that seems to anticipate the chaos that reality itself dictates with its natural phenomena and with the disasters generated by the hand of man. The peculiar, reticular casing, devised by the architectural imagination of Zaha Hadid , only accentuates the aesthetic and spatial experience despite the fact that the final compositions dance a little among so much amplitude. Logical, on the other hand, because this building has not been designed to host any art exhibition: neither sculpture, nor painting… or anything similar. Rather, of cars and other similar gadgets as can be seen in the adjacent rooms. In fact, this exhibition by Miquel Navarro is the first of its kind to be inaugurated here and serves as a complement to the one also presented on his work at the Goya-Camón Aznar Ibercaja Museum in Zaragoza. Both are titled ‘Lunar Metropolis’ and as he himself assures: “I have played with the moon and sun as sentinels of the city.” Miquel Navarro Lunar Metropolis. Commissioner: Lola Durán Ucar. Mobility City and Goya Ibercaja Museum. Until December 22. Four starsIn the rooms of the museum, located in the center of the capital, we will witness a much less spectacular assembly in which large paintings and sculptures are combined that emerge like iron totems. Indeed, everything is very lunar, as highlighted by the lighting of the two spaces that is reflected on the surface of the canvases: from Klein blue (which is also reminiscent of the Valencian tiled domes) to silver. Both in this space and in the Mobility City, everything is very Miquel Navarro, because, of course, we must take into account that he is one of our creators with more defined, more recognizable signs of identity. For this reason, he never deceives in his proposals, whether on earth, on the moon… Years do not pass through the art of Miquel Navarro.
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