Barcelona

Gabriel

Galería Fernando Alcolea

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 whatever guise, and in his renunciation of the quest for beauty, as foreign to his concept of art as a pathway to knowledge. In this respect, for him, art (or rather its formal materialization) is not an end in itself but is a means to a knowledge that compels him to reject any identification of the

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the April 1992 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.