Menene Gras Balaguer

  • Jordi Benito

    De Vinaròs a Berlin (From Vinaròs to Berlin) is the title of Jordi Benito’s most recent installation. He covered the floor of the gallery with a lead coating, forcing the viewer to slow down and making him feel strangely imprisoned. Through this metallic bed he forged a path through the gallery, one delineated by nine granite stones of approximately one-and-a-half tons each. The pentagrams containing Carlos Santos’ musical score had already been etched into these stones. (Benito has collaborated with this contemporary composer, author of the opera Asdrúbila, 1992, since they met in 1973. They

  • Ulrich Rückriem

    Ulrich Rückriem’s installation in the exhibition hall of this Foundation follows those of Jannis Kounellis (who opened it with a historic installation in 1989), Jan Dibbets, Mario Merz, John Cage, Bruce Naumann, Rebeca Horn, Richard Long, and even that of two young artists, the Spaniards José Maldonado and Aureli Ruiz. Rückriem was invited to work on the infrastructure of this naked space. Adopting stone as the primary raw material of his installation, his response to the space reflected his esthetic concerns. For Rückriem, stone represents the state prior to being and to life, and the irreducible

  • Ángeles Marco

    Out of a half-open aluminum suitcase comes a captive voice that penetrates the three exhibition rooms. The voice is that of the artist whose physical absence is thus negated. From the heights of a strategically placed iron beam, the voice appropriates the surrounding space. Its fragile materiality consists of an insistent stammering, barely recognizable as a phrase, broken by laughter that hampers its progress, forcing it to repeat the first and middle syllables of each word. The voice becomes a machine that creates “time,” each syllable representing an unequal fraction of time measured in words.

  • Chema Cobo

    Attracted by the possibility of showing the innumerable paradoxes of perception and vision, Chema Cobo’s recent work takes the figure of the joker and turns it into the protagonist of all his works. Before beginning a painting, Cobo writes fragments of phrases in one of the corners. The joker’s smile is the expression of the arbitrariness of the apparent. “Everything we see could be different,” and therefore, “absolutely everything we might have described could also have been different,” Ludwig Wittgenstein pointed out in his Philosophical Investigations, 1914–16. And Cobo assimilates the

  • Pep Duran

    Four years after his last one-person show, Pep Duran again becomes a collector who searches, like a ragpicker, for objects or remains that respond to his demands. This time, the type of object accumulated is usually related to the world of textile production: hat moldings, tools used for weaving, patterns, stools, boxes, clothespins, pieces of leather boots, actual tools of textile machinery in disuse, sheathed shoe trees, and even cardboard cutouts from boxes of bottled mineral water, room fans, and other household products. The principal materials used are austere: wood and cork predominate.

  • Juan Uslé

    Juan Uslé has gathered his recent pictorial work under the title “Bisiesto” (“Bissextile”), insisting on the continuity of his artistic direction, which is all the more difficult to maintain in a fragmented and discontinuous world like our own. All the questions concerning the validity of painting and its practice continue to hound him. The survival of painting helps him prove to himself that, through painting itself, he has broadened his cognitive universe. For him, the defense of painting assumes an incessant reflection on the pictorial act because its strength depends on this gesture. Uslé

  • Antoni Abad

    Antoni Abad’s recent pieces exhibit the same concern for movement as his preceding work. Indeed, his exploration into the essence of movement predates his abandonment of painting for sculpture and informed his “plaited paintings,” 1983, which marked the transition from one medium to the other. The meeting of material and form provokes syntactic reconstruction of the combinatory process; in this respect, the viewer can contemplate and observe movement’s ability to change or transform passive material into active material. As is the case with the conjugation of time and space, or movement and

  • Gabriel

    It is useful to reflect upon the reciprocal nature of the relationship of the work of art to the artist when one confronts the enigma evoked by the production of Gabriel, whose theoretical discourse is inseparable from his artistic practice. The artist necessarily asserts the autonomy of “form,” through every physical occupation of space that shapes and objectifies the flux of appearances. So, under these conditions, and in order to rule out any finality other than his own, he tolerates only “formless” form. Interest in Gabriel’s work resides precisely in his resistance to imitation, under

  • Sergi Aguilar

    The seven large-scale architectonic sculptures by Sergi Aguilar at the Fundació Joan Miró, substantiate the common impulse at the core of architecture and sculpture. Yet Aguilar’s use of space is neither functional nor decorative; rather, these pieces divide space in order to articulate the void that surrounds them. Deserts of metal, born of the artist’s silence, these works articulate an internal dissolution, giving time and space geometric shape without proposing a finality that might be alien to them. Indeed, they speak of the very essence of migration and change, even while implicitly

  • José Maldonado

    José Maldonado asserts the primacy of language, as the prerequisite and dwelling place of things, by quoting a verse from the Spanish poet Luis de Góngora, “Las Cenizas de la amada las que cuenten el paso de las horas” (The ashes of the beloved that mark the passage of time), which he realizes in visual images. His installation Vanitas (Vanity, 1991) appropriates space through the construction of a doorless enclosure, visible only through its windows. This allows the viewer to look into an inaccessible interior landscape where sensuously suggestive images generate an optical illusion. Some of

  • Rosa Amorós

    Either through caution or prudence, form in Rosa Amorós’ work is insinuated but never clearly defined. Thus, the gouaches and sculptures shown here elaborate an alphabet of signs, whose simplicity demands compositional rigor. Amorós has opted to represent metaphors that are charged with allusions. She uses fired clay and stoneware, as well as marble in her sculptures, but she is able to overcome the limits of her materials by using them innovatively. Her greatest effort is directed toward the elimination of any difference between them. Even in the gouaches she attempts to transcend material

  • Joan Bennassar

    Joan Bennassar’s work embodies the insularity of the island on which he was born; it is as if he had internalized Mallorca’s landscape characterized by the meeting of sea and earth. Though, in his recent exhibition, he is preoccupied with this sense of continuity, Bennassar proceeds with what seems an endless investigation of materials and form, and the pictorial spaces he constructs remain completely independent of one another despite their similarities. The facture of Bennassar’s paintings suggest primordial elements of nature: color is fluid and spills out like liquid light, and the traces