The information network of the exhibition device offers a communication and meeting space at the showroom’s hall where informational materials of the program can be found and taken. During the activity a series of meetings have been scheduled to develop certain aspects directly related to the central themes of the project and the work of Rabascall. In addition to the attached program that specifies the topics to be discussed, additional information about these topics is available to those interested. The main aim of the organizers of the project Camins encontrats is that the classroom becomes a vital space to deepen and reflect critically on the contents and objectives on display.
November 8th 2016, 18:30h
Media, information and power images. From Franco regime to nowadays.
Jaume Guillamet, Professor of Journalism at UPF.
This session will reflect on Francoism as an oppressor regime that used the media to impose its ideology and purposes. During that period, the press was the only form of media that had some freedom since 1966. Consequently, new tendencies did not have enough presence and were left relegated to the cultural and specialized press. Examples of such control are the arrest of journalist Josep María Huertas, or official reactions and the extreme right against the intervention in 1968 of Arranz Bravo and Bartolozzi on the façade of the factory Tipel at Parets del Vallès, or even the churches painted by Lluís Bosch Martí.
Limitation of participants, previous inscription needed:
The Fundació Suñol presents the exhibition Dry Resplendence, by the artist Darío Villalba (San Sebastián, 1939). The exhibition brings together a selection of more than thirty works from the Josep Suñol Collection and the personal holdings of the artist himself.
The figure of Darío Villalba is vital in understanding the evolution of Spanish art in the 1960s. From its very beginnings his work broke clear from existing currents in the country at that time, creating a rupture that has endured to the present by combining two techniques with no distinction between them: painting and photography. As he himself commented in an interview: “In my work painting is photography and photography is painting.”
Villalba began his artístic career in 1957 at the age of just eighteen, with an exhibition at the Sala Alfil in Madrid. The experimental process evidenced in his art over such a long period of time has led to him now being considered one of the precursors of the use of photography as a pictorial suport, both in Spain and around the world. In 1973 he was invited to participate in the XII Sao Paulo Biennial, with an individual room, where he was awarded the International Painting Prize. Recognition of his work led him to be nominated in 2002 as an oficial member of the San Fernando Royal Academy of Fine Arts.
In all the work selected for this exhibition, photography is the feature factor, as seen in collage, direct prints on fabric (the photo-linen technique) and in the encapsulated works in Plexiglas, where the depicted characters become three-dimensional. We also find other experimental pieces employing less habitual materials for the visual arts, such as bituminous paint, giving them a dark black texture appearing viscous and soft, as if they had just been painted.
Josep Suñol discovered the work of Darío Villalba in the mid-1970s, when he had solo exhibitions at Madrid’s Galería Vandrés (in 1974 and 1976). It was there where the artist benefited from the support of Fernando Vijande, who would carry out the important task of promoting the newest generation of contemporary artistic creators in Spain.
This exhibition is the artist’s first solo show in Barcelona, and represents a unique opportunity to discover the artist and his work. The catalogue published for the ocassion features the texts Humility, by Arturo Sagastibelza, and Breaches, by Manuel Segade, together providing an exhaustive yet personal review of the artist’s career from the 1960s to the present day.
Photos: Santi Periel
Under the title The sexual night, taken from the homonym book by Pascal Quignard, the artist Oriol Vilapuig (Sabadell, 1964) assembles his work on seven different areas and one preface. Two central concepts constitute the exhibition: forms of resistance and survival that affect certain feelings of loss and fear, and eroticism understood as a form of overflow from an extreme voluptuousness, embarrassment and dismay, insisting also on its sacred and ontological aspect.
The thirty pieces that are shown in the exhibition, most of which are polypthychs, are made between 2010 and 2016. Most of them are shown publicly for the first time and exemplify the methods used by the artist on recent times. These methods include the use of the essay form as a study behavior on constant construction, and the impact on tradition and art as a symbolic space that constructs our collective subconscious. Vilapuig’s work creates presences through the language of drawing as an experience linked to the body, but also as a possibility to build imaginaries.
Photos: Èric Pàmies
Camins encontrats is a project that aims to explore two artworks by the same artist made on different times and give visibility to the relations between them, the author, the collector, the specialists and the audience in a particular space, the Fundació Suñol. This second edition of Camins encontrats features two works by Antoni Miralda, one made in 1977 and the other on 2015.
In contrast to the two works we find two crucial aspects in the artist’s creative research: the radical approach to the collective production of Fest für Leda, a work presented in 1977 in documenta 6 of Kassel, as well as the anthropological analysis of the processes of ritualization of FoodCulturaMuseum, from which you can see the piece 46 ossos, that was part of the show What you want is what you get presented at the gallery Moisés Pérez de Albéniz in 2015.
This project is designed, conceptualized and coordinated by Enric Franch.
Photos: Santi Periel
La gran aposta expositiva de la Fundació Suñol per al 2017 gira al voltant de la figura de Fernando Vijande (Barcelona, 1930 – Madrid, 1986), ocupant totes les sales de que disposa la Fundació Suñol, incloent el Nivell Zero. 51 artistes participen en aquest recorregut per la trajectòria professional d’un dels galeristes que més va recolzar, consolidar i visibilitzar l’obra de tots aquells que van exposar a la Galería Vandrés (1971-1980) com posteriorment a la Galería Vijande (1981-1987).
Josep Suñol va ser partícip d’aquest moment, fet que va fer sorgir una de les relacions entre col·leccionisme i galerisme més interessants a Espanya. Fernando Vijande va mantenir des del primer moment una línia original, apostant pels moviments avantguardistes, però fiant-se més dels seus propis gustos i criteris estètics que de les modes del món de l’art. Aquesta aposta es va veure recolzada a l’exposició New Images from Spain, realitzada l’any 1980 al Guggenheim de Nova York, i en la qual Fernando Vijande va tenir l’oportunitat de mostrar diferents artistes que havien exposat a les seves galeries. Aquesta mostra va significar la seva consagració com a marxant i galerista a nivell internacional, i va ajudar a donar visibilitat internacional a tots aquells creadors que Vijande promovia.
L’exposició compta amb obres de 51 artistes exposades a les galeries Vandrés i Vijande, i també obres actuals dels mateixos artistes, acompanyades de documentació sobre aquell període tan vibrant i transgressor. Alguns dels artistes que participen en aquest homenatge van adquirir reconeixement internacional durant el període viscut a les Galeries Vandrés i Vijande, entre els quals trobem a Juan Bordes, Carmen Calvo, Joan Hernández Pijuan, Nino Longobardi, entre d’altres. Fernando Vijande també va exposar artistes internacionals com Robert Smith, Robert Mapplethorpe o Andy Warhol, les obres dels quals també podrem trobar a la mostra.
Aquest projecte ha estat coorganitzat entre la Fundació Suñol i José Luis Alexanco, partícip d’aquell moment i coneixedor de la trajectòria de Fernando Vijande.
Fotografies: Santi Periel
For this first retrospective exhibition by Patricio Vélez (Quito, 1945; based in Barcelona since 1976), we have selected almost a hundred works of art from amongst a vast oeuvre of paintings, drawings, engravings and photographs, with the intention of offering a representative panorama of the work carried out by the artist over more than half a century.
Patricio Vélez studied architecture in Quito, Barcelona and Paris, but shortly after obtaining his degree, painting became a priority in his life. His first solo exhibition took place in 1977 in the Ciento gallery in Barcelona. His works are like atlases or mental and sensory cartographies of the natural world. Their author likes to say that they are “transfigurations of nature”.
The vegetal world is the base fabric of his work. In it, a framework populated by signs is formed in which every stroke organises and creates images of rich ambiguity. This in turn strikes a balance between a near and at the same time distant vision, resulting in a sort of “landscape writing”. He very often creates different works around a same theme.
In the exhibition we present some of these “variations”, which in certain cases become narrative sequences. In much the same way, we can observe that the exhibition addresses the constant matters of the visual arts: colour, line, surface, chiaroscuro, fragmentations and analogies, amongst others.
The Fundació Suñol is pleased to present the project that Daniel G. Andújar (Almoradí, 1966) created for documenta 14, in 2017. Conceived as a visual protest against violence, it offers a present-day take on the representation of conflict in order to reveal its effect on people.
The first edition of documenta was held in 1955 with the aim of renewing the dialogue between Germany and the rest of the world that had been broken off by the Second World War, as well as making contact with the international art scene through a “presentation of 20th-century art”. The city of Kassel has played host to this event ever since and over time has become an indisputable benchmark for the evolving arts. The 2017 edition was entitled Learning from Athens, since it was not only held in Kassel, as usual, but was also on show beforehand in Athens.
The curators for documenta 14 invited the selected artists to think about the social and political situation in Europe and the rest of the world, as well as the palpable tension between North and South. This was the framework in which Daniel G. Andújar created the piece on display at the Fundació Suñol.
In Athens, the artist presented the first part of the project, entitled The Disasters of War: Repatriation Akademia, an interdisciplinary work centred on the ideas of nationality, public domain and cultural and intellectual property, as well as authenticity, reproduction, theft and the plunder of antiques. In Kassel, Andújar presented the second part of the project, The Disasters of War: The Trojan Horse, which explores ideas such as cultural identity and memory, as well as monuments, stereotypes and the concept of falsification and truth.
These two projects are being presented together for the first time, in conjunction with this publication, which contains texts by Imma Prieto and María Dolores Jiménez-Blanco.
The Fundació Suñol organizes a visit to the exhibition Daniel G. Andújar. The disasters of war conducted by Valentín Roma, art historian, writer, curator of exhibitions and director of La Virreina Centre de la Imatge who will provide us with new readings on the works that the artist developed for documenta 14, in 2017.
The exhibition is conceived as a visual protest against violence and it offers a present-day take on the representation of conflict in order to reveal its effects.
Date: Thursday, September 13th 2018
This guided tour is offered in Spanish.
Limited capacity. It is essential to book by phone (934 961 032) or e-mail (firstname.lastname@example.org).