Juan Vicente Aliaga

  • Federico Guzmán

    The first impression one had upon entering this exhibition of Federico Guzmán’s works was a feeling of confusion. On the walls, separated from each other, an uneven group of pieces made of asphalt and paint on canvas presented signs that alluded to the boundaries of writing and public relations; perhaps this was the remains of a more complex network of symbols now nearly reduced to minimum expression. To what did that network of symbols refer?

    For some time now, as a result of a collective project in which he participated in 1992 called the Cápsula de tiempo Córdoba (Cordoba time capsule), Guzmán

  • Susana Solano

    This first retrospective of Susana Solano’s work is an exhibition of breadth in every sense of the word; it allows the spectator to conic into contact with a rather large selection of her work. Solano’s work has acquired consistency and international prestige in just a few years. Influences, conscious and unconscious, include some of Robert Morris’ works of the late ’60s which centered on the juxtaposition of planes and opaque elements, and the Minimalist coldness of some structures resembling cages, like his well-known Untitled (Steel grating), 1967, or Untitled (Aluminum grating), 1969;

  • Francis Bacon

    Francis Bacon’s painting has been characterized as accentuating a latent state of things, as writing (in many works we see a character seated on a stool), as frozen action, petrified in those images of water jets or in the use of small red, black, or white arrows. Despite this dynamism and impulsive vitality, the configuration of closed spaces, prevails in Bacon’s works. Precisely on this stage of inner doors, ordered like an oppressive huis clos, Bacon establishes a web of sensitive relations that visually mark the limits of pictorial space. It is a question of a net formed with permanent

  • Paco Vacas

    The art of Paco Vacas is the product of a meditation on interior experience. His remarks echo those of Georges Bataille, in which he proposes that given interior experience cannot originate in dogma (the moral attitude), nor in science (knowledge), nor in the search for esthetic and/or experimental procedures, but that it must originate in itself. Thus, the experience is formed by its own authority.

    “I call experience a journey to the limit of the possible for man,” says Bataille—a journey by which the inescapable fusion of the unknown and the individual is reached. For Bataille, the object is

  • Joan Brossa

    Joan Brossa’s work is shaped by multiple esthetic dimensions. One cannot speak of Brossa the poet, or Brossa the sculptor or painter as separate entities; Brossa is a totality and to ignore one of his interests would give a false impression of this Catalan artist. In 1948, Brossa, along with Antoni Tàpies and Joan Ponc, formed the group Dau al Set. This group set out to reanimate post-Surrealist and post-Dadaist esthetics using the Catalan language, which during the postwar years was repressed by Franco’s regime. At the same time, one of the most significant avant-garde poets in Catalonia, J.