Three very unique exhibition spaces, the Chapel Hall of the University of Murcia (UMU), and the Caballerizas and Los Molinos del Río rooms, dependent on the Murcia City Council, host until June 18 the installation entitled ‘Con tras 3. Chordes de una poética visual ‘, by the Madrid artist Rosa Brun.
A contrast of colors, textures, materials and shapes is what those who come to see this new artistic proposal by Brun will find, which was inaugurated yesterday.
Paco Caballero, director of the Aula de Artes Plásticas y Visuales at the UMU and curator of the exhibition, points out that the exhibition discourse of ‘Con tras 3. Chords of a visual poetics’ focuses «on the very contrast of the works with some buildings full of history and with such different structures ”. It is, he adds, “a conversation between Brun’s minimalist work and spaces, to the point that work and building find a balance and form a whole”.
Professor in Granada
The artist and professor at the University of Granada details how the very structure of the spaces has been a challenge for her to achieve that each structure achieves its own skin linked to the different textures of her works. “Shapes and colors take on spaces,” the creator summarized yesterday during the presentation of the exhibition, which took place in the La Convalecencia building, where the Sala Capilla is located.
The Vice-Rector for Quality, Culture and Communication, Javier Martínez Méndez, indicates that this is the most ambitious exhibition project of those carried out in recent years at the UMU.
«The concept of contrast is always present in Rosa Brun’s work, always playing with limits, borders, the contrast of colors, finishes, materials and compositions», highlights Caballero, who adds that «many times it has been written about that in his work there is a continuous challenge to knowledge, continually crossing the frontier and the limit of logic ». “The attempt to see a uniform meaning between the variety of its colors, shapes and textures would be a challenge for our reason,” adds the curator.
Caballero points out that “we can clearly glimpse his influence from Rothko, Barnett Newman, Kenneth Noland, Donald Judd or Ad Reinhardt, exponents of abstract expressionism and conceptual minimalism.”
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