Menene Gras Balaguer

  • Berta Cáccamo

    Berta Cáccamo exhibited nine canvases, each entitled SERNAM, after the industrial district outside Paris where they were realized. Designated with the Roman numerals I to IX, these paintings all suggest cold rainy days, morning snows, and the desolation of the outskirts. Their undifferentiated grounds are fixed in a prefigurative intermediary stage. Overcome by indeterminacy, the figures do not achieve a condition of “being”; they remain shadows of things on the verge of becoming, stains of a dream—indecipherable visions that attract with their silence and that one fears destroying with words.

  • José Maria Sicilia

    A glassy magma deposited over imaginary millennia covers the six canvases that comprise José Maria Sicilia’s most recent show. The cracked and rough appearance of these works suggests the prehistoric formation of the world. In these canvases the still amorphous material seems yet to coalesce into distinct forms and colors. For Sicilia the investigation of origins implies the dissociation of the material from its possible attributes, and yet neutrality of color, and the transformation of chalky grounds into earthier and damper tones paradoxically achieves a certain visual plenitude. At times

  • Ricardo Cotanda

    Ricardo Cotanda, one of the young generation of Spanish sculptors, populates his work with parodic images that he has stripped of their customary meanings. Cotanda’s inventions are secreted like invisible possibilities within other, preexisting objects with which we are more familiar. His media are simple, domestic, and typically local: blue canvas, plain unfinished wood, thread, mirrors, and buttons. These fragile and mundane materials are unusual in art, but Cotanda demonstrates that they are perfectly compatible with conceptually rigorous work.

    The new pieces resemble games in one respect,

  • Jan Dibbets

    Jan Dibbets used Barcelona as the background and pretext for the work he exhibited here. The fascination that details of particular Modernist buildings in this city hold for him led him to conceive of a series much like his previous ones, based on architectural sites such as San Cassiano Ceiling, 1979; or Spoleto Duomo, 1980. Dibbets has juxtaposed photography with painting since 1967; he considers painting irreplaceable and he uses it to correct the superficial appearance of things. Here Dibbets subjects photographs he shot on a previous visit to his characteristic method of selective decomposition,

  • Miquel Navarro

    This comprehensive presentation of Miguel Navarro’s work spans almost twenty years and is entitled “Las Ciudades” (The cities). It begins with Casa con Palmera (House with palm tree, 1972-73), and La Ciutat (The city, 1973-74) and ends with La Minerva paranoica (The paranoid Minerva, 1987). Architecture provides the inspiration for all his work. For Navarro artistic production is synonymous with “construction” and the reproduction in miniature of architectural elements allows him to generate meaning from anonymous surfaces. Architecture is the support as well as an ironic reflection of his

  • Leandre Cristòfol

    The work of Leandre Cristòfol is intentionally poetic. It is the product of the ontological and formal concerns that run through it. Cristòfol’s expression is one of a silence dressed in many guises. The materials he uses are for the most part common: iron, wood, clay, machinery parts, metallic tape, cork, wire, and glass. Cristòfol comes from a rural environment, and his gaze on the world retains the sense of distance particular to one who has lived in voluntary seclusion, as if bent on protecting his singularity at all costs, even to the extent of costing him the recognition he deserves. His

  • Miguel Angel Campano

    In this show, Miguel Angel Campano exhibited 21 thematically related paintings made over the last two years. In each of the paintings, he crowds different structures onto compact surfaces; these structures are fragmented in surprising ways that obviate any harmonious resolution. The painting becomes a depthless window through which objects are seen. Campano reinterprets two distinct genres: landscapes are treated as if they were still lifes and still lifes as if they were landscapes. In several of the paintings, the two genres are seemlessly integrated.

    Disparate elements come into relation with