Aurora García

  • Fernando Sinaga

    “Take Brazil Easy” is the title Fernando Sinaga gave this exhibition. Like the title of a previous show, “El desayuno alemán” (The German breakfast, 1986), it is allusive, and tinged with irony. Brazil, the artist has written, “is now the living image of our conflicts, something that compels us to look elsewhere,” where there is nothing to worry about. In reality “Take Brazil Easy” attempts to explore the notion of an ultimate image. The grouping of works in two rooms of the gallery emphasizes the relationship of each individual piece to the others around it; the arrangements attempt to achieve

  • Patricio Cabrera

    The recent paintings of Patricio Cabrera depict a landscape whose horizon is lost in the distance. They are imaginary landscapes despite the references to nature. His paintings of 1985 and 1986, in which the perspectives seem populated by objects such as bare tree trunks, columns, and garlands, emphasize the multiplicity of elements that converge in the artist’s mind to form the memory of a southern land, full of color, rituals, and traditions. Two years ago, his language was becoming more abstract, and the surfaces flatter; he began placing a special emphasis on the elements of construction,

  • Juan Muñoz

    Juan Muñoz uses images in his work that evoke a world where dream and illusion are the rule––a place where subconscious desires and the absurd are connected. The absurd is, for Muñoz, a source of creative energy not only for artists, but for all humankind. For those internal and external, equivocal and contradictory circumstances related to us contribute to knowledge as much as the logical and the manifestable does, and are presented in sharp profile or tinged with darkness and uncertainty.

    Muñoz thinks of art as a form of knowledge, and if rational knowledge pertains to science, the artist

  • Jorge Oteiza

    The work of Jorge Oteiza exemplifies the revolution in sculpture after the Spanish Civil War. Although he is now close to 80, much of this pioneering work has remained unknown except to other Spanish sculptors and his fellow Basques. An artist of great breadth in his vision and convictions, over the years he has developed a Modernist visual vocabulary that embraces his political and moral stands in relation to the ethnic and historical identity of his Basque people. This exhibition, his first retrospective, has brought his oeuvre to the attention of a wider audience, and deservedly so.

    Oteiza

  • Cristina Iglesias

    Formally, the esthetic language of Cristina Iglesias, a member of the new generation of Spanish sculptors, has evolved gradually, without radical changes, since she first began to exhibit in the early ’80s. Her repertory of materials has grown from the early work’s cement and iron to include glass, which appeared in 1986, and more recently weavings, wood, such metals as copper and zinc, and other additions, all of which have contributed to a diversification of her expressive and technical resources. Without losing any of its former ambiguity, Iglesias’ sculpture now incorporates direct references

  • Txomin Badiola

    There is a symbiotic relationship between tradition and modernity that runs through the works of Txomin Badiola. The duality so evident in Badiola is not an isolated instance in the current resurgence of sculpture here but can be found in the work of almost every other young Spanish sculptor as well. What is modern in Badiola’s sculpture is that he chooses to show the process of each work—the various connections and disjunctions among its structural elements—as part of the finished piece, thus attacking stereotypical formalism and disrupting our customary ideas of perfection and completion.

  • José María Sicilia

    Viewers recently had the opportunity of seeing paintings from José María Sicilia’s new series “Flores” (Flowers, 1986), in two simultaneous exhibitions, one month after some of these works were shown in the Spanish Pavilion at the Venice Biennale. Since 1978 Sicilia has lived in Paris, where he has pursued a loosely figurative style. In 1983–84 he was painting scenes of Paris and Madrid (the Place de la Bastille, rooftops with TV antennas, marketplaces) and compositions incorporating images of ordinary domestic objects such as vacuum cleaners, eggbeaters, and irons. In the past two years, his

  • Carlos León

    In Carlos León’s first one-person show since his yearlong stay in New York, it was clear that the new direction his work had taken was indebted to the foreign context that motivated it.

    In the early ’70s, León came into direct contact with the Parisian Support/-Surface movement. However, he continued to emphasize a knowledgeable art informed by social and cognitive concerns, allowing these to overwhelm the purely pictorial elements. But a phase of continual revision and self-analysis connected to social awareness brought him quite naturally to an unfettered work free of theories—a development

  • Juan Navarro Baldeweg

    Juan Navarro Baldeweg’s show was one of this year’s key exhibitions of Castilian painting. Despite the adjective “new” applied to his art, Baldeweg is hardly a newcomer, having shown his work, although not copiously, for more than twenty years. A professor at the Escuela Técnica de Arquitectura de Madrid, from 1971 to 1975 he lived in the United States, working at the Center for Advanced Visual Studies at the Massachusetts Institute of Technology. There his development as a painter was influenced by his surroundings and by his research in video. Having gone through a conceptual stage he has now

  • Menchu Lamas

    The work of Menchu Lamas is a good example of how abstraction has evolved toward figuration in a coherent way, without an abrupt break. The figures in her paintings fill the picture plane; they are not merely fitted into a formal structure but themselves comprise that structure, providing heavy vertical, diagonal, horizontal, and curved shapes which give the painting its fundamental directional lines. This is a figuration bent on structural problems, but Lamas also skillfully introduces ambiguity through the selection of her thematic repertory.

    In these two shows, featuring large works, Lamas