{"id":107816,"date":"2024-06-15T13:49:47","date_gmt":"2024-06-15T11:49:47","guid":{"rendered":"https:\/\/galeriasenda.com\/landscape-untitled-2-exposicion-colectiva-en-la-mezzanina\/"},"modified":"2024-10-10T13:24:51","modified_gmt":"2024-10-10T11:24:51","slug":"landscape-untitled-2-exposicion-colectiva-en-la-mezzanina","status":"publish","type":"post","link":"https:\/\/galeriasenda.com\/ca\/landscape-untitled-2-exposicion-colectiva-en-la-mezzanina\/","title":{"rendered":"“Landscape Untitled 2”. Exposici\u00f3 col\u00b7lectiva a la Mezzanina"},"content":{"rendered":"\n

Fa 32 anys, la galeria SENDA<\/a> va obrir les seves portes i va dedicar l\u2019estiu a una exposici\u00f3 que va ser clau en la hist\u00f2ria de la galeria titulada “Landscape Untitled”. En ella, va convidar a Albert Oehlen, Christopher Wool i Peter Halley, un artista amb qui mantenim la relaci\u00f3 i que exposarem despr\u00e9s de l\u2019estiu. Cadascun d\u2019ells disposava d\u2019una habitaci\u00f3 i va concebre el seu espai com un petit show.<\/p>\n\n\n\n

Aquesta exposici\u00f3 portava un fant\u00e0stic text de Lu\u00eds Francisco P\u00e9rez en qu\u00e8 ens deia:<\/p>\n\n\n\n

\n

<\/p>\n\u201cLa pr\u00e0ctica de la pintura, fins i tot aquella que s\u2019abandona a una vor\u00e0gine de contemporane\u00eftat desprove\u00efda de mem\u00f2ria, obeeix a una voluntat de reconstrucci\u00f3, a un desig projectat cap a la conquesta d\u2019un territori existent.\u201d<\/cite><\/blockquote>\n\n\n\n

Afrontant l\u2019arribada de l\u2019estiu, rememorem l\u2019esperit ol\u00edmpic del 92 amb la Copa Am\u00e8rica, que aquest any t\u00e9 lloc a Barcelona i ens retorna l\u2019alegria per un projecte esportiu que posa el focus a la nostra ciutat. Aix\u00ed, a SENDA<\/a> reprenem la idea del paisatge, que \u00e9s tan pr\u00f2pia en la hist\u00f2ria de l\u2019art catal\u00e0, i presentem \u201cLandscape Untitled 2\u201d. En aquesta mostra col\u00b7lectiva a la Mezzanina de la galeria dialoguen obra de Joan Fontcuberta, Robert Wilson, Gao Xingjian<\/a>, Peter Halley<\/a>, Glenda Le\u00f3n<\/a>, Anna Malagrida i Gonzalo Guzm\u00e1n<\/a>.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Les peces d’aquesta mostra<\/h2>\n\n\n\n
<\/div>\n\n\n\n

Glenda Le\u00f3n<\/a><\/h3>\n\n\n\n

La s\u00e8rie de marbres \u201cContorns del m\u00f3n\u201d de Glenda Le\u00f3n<\/a> repr\u00e8n les formes emprades en obres anteriors, com el llen\u00e7 de \u201cEls Horitzons del M\u00f3n\u201d (2018) o les serigrafies \u201cContorns del m\u00f3n\u201d. En aquestes noves escultures, l\u2019artista retalla el marbre seguint diverses formes. Des d\u2019elements naturals com la branca d\u2019un arbre, fins al vol d\u2019una abella, el riu Ganges o el terratr\u00e8mol de Valdivia a Xile, les escultures exploren la interacci\u00f3 entre la natura i la interpretaci\u00f3 humana dels seus fen\u00f2mens. Cada pe\u00e7a, acuradament treballada, mostra la destresa de Le\u00f3n<\/a> per transformar la rigidesa del marbre en representacions org\u00e0niques i fluides, atorgant una nova vida a aquest material.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
“Contornos del mundo” (2024) Diferents mides, M\u00e0rmol negre de Calatorao<\/sub><\/figcaption><\/figure>\n\n\n\n
\"\"
“Contornos del mundo: El Terremoto de Valdivia, Chile” (2024) 9 x 23 x 1.5 cm, M\u00e0rmol negre de Calatorao<\/sub><\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Joan Fontcuberta<\/h3>\n\n\n\n

Amb \u201cPaisatge de la Seguretat: Banc d’Espanya\/Caixa de Seguretat\u201d (2001), Joan Fontcuberta s\u2019endinsa en una reflexi\u00f3 sobre la percepci\u00f3, la realitat, la seguretat i la pol\u00edtica. Aquesta obra forma part de la seva s\u00e8rie \u201cPaisatges de la seguretat\u201d i es relaciona \u00edntimament amb la seva idea que tota natura s\u2019ha convertit en artifici a causa de la influ\u00e8ncia de la cultura i els contextos econ\u00f2mics i pol\u00edtics.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"\"
“Banco de Espan\u0303a\/Caja de Seguridad” (2001) 120 x 180 cm<\/sub><\/figcaption><\/figure><\/div>\n\n\n
<\/div>\n\n\n\n

Robert Wilson<\/h3>\n\n\n\n

Per la seva banda, les obres de Robert Wilson s\u00f3n una s\u00e8rie sobre paper que revelen el seu proc\u00e9s creatiu en la concepci\u00f3 de l\u2019\u00f2pera “Der Messias”, tal com vam poder veure a l’exposici\u00f3 que li vam dedicar al mar\u00e7<\/a>.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Vista de l’exposici\u00f3 “Der Messias” de Robert Wilson. Galeria SENDA (Mar\u00e7, 2024)<\/sub><\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Aquesta seq\u00fc\u00e8ncia de quatre obres mostra una muntanya com a protagonista, destacant l\u2019\u00fas distintiu de la llum en cada pe\u00e7a. Wilson utilitza la llum no nom\u00e9s com a element visual, sin\u00f3 com a mitj\u00e0 narratiu que transforma la percepci\u00f3 del paisatge en cada obra. A trav\u00e9s de variacions subtils i dram\u00e0tiques en la il\u00b7luminaci\u00f3, cada obra captura un moment \u00fanic, suggerint l\u2019evoluci\u00f3 temporal i atmosf\u00e8rica de la muntanya, i que es relaciona directament amb la seva escenografia de \u201cDer Messiah\u201d.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
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“Der Messias” (2020) 60.5 x 80.5 x 3.5 cm cada un – Carbonet i paper<\/sub><\/figcaption><\/figure><\/div>\n\n\n
<\/div>\n\n\n\n

Gao Xingjian<\/a><\/h3>\n\n\n\n

Gao Xingjian<\/a>,\u00a0conegut tant pel seu treball literari com pel seu art visual, presenta a \u201cCit\u00e9 fantastique\u201d (2011) una interpretaci\u00f3 del paisatge que juga amb l\u2019abstracci\u00f3 i la suggesti\u00f3. La pintura, amb els seus tons monocrom\u00e0tics i tra\u00e7os fluids, evoca una sensaci\u00f3 de misteri i contemplaci\u00f3.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"\"
“Cite\u0301 fantastique” (2011) 130 x 162 cm – Tinta xinesa sobre llen\u00e7<\/sub><\/figcaption><\/figure><\/div>\n\n\n
<\/div>\n\n\n\n

Peter Halley<\/a><\/h3>\n\n\n\n

Trobem tamb\u00e9 una singular obra sobre paper de Peter Halley<\/a>. \u201cCell 8\u201d utilitza el grafit i crea una textura i un to que difereixen significativament del seu \u00fas habitual del color, per\u00f2 mant\u00e9 el seu inter\u00e8s pels sistemes i les connexions. Aquest dibuix mostra un estudi d\u2019espai i confinament, temes recurrents en el treball de Halley, on sovint explora l\u2019arquitectura de l\u2019entorn urb\u00e0, entenent-lo com a paisatge, i la interacci\u00f3 entre l\u2019espai personal i social.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"\"
“Cell 8” (1995) 12.5 x 17.7 cm – Grafit i paper<\/sub><\/figcaption><\/figure><\/div>\n\n\n
<\/div>\n\n\n\n

Anna Malagrida<\/a><\/h3>\n\n\n\n

La fotografia \u201cRefugi 8\u201d (2006) d’Anna Malagrida<\/a> forma part d’una s\u00e8rie de fotografies de refugis al desert jord\u00e0. Aquestes construccions b\u00e0siques i prec\u00e0ries s\u00f3n l’expressi\u00f3 m\u00e9s simple de la forma representada per la noci\u00f3 de refugi, sostre o protecci\u00f3. La visi\u00f3 fotogr\u00e0fica transforma aquestes construccions an\u00f2nimes en escultures del desert. Aquesta s\u00e8rie de fotografies de refugis al desert jord\u00e0, que captura l’ess\u00e8ncia m\u00e9s simple de la protecci\u00f3 i el refugi, dialoga amb les diverses interpretacions del paisatge presentades a l’exposici\u00f3 “Landscape Untitled 2”, transformant aquestes construccions an\u00f2nimes en escultures del desert que ressonen amb la hist\u00f2ria i la naturalesa humana.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"La
“Refugio 8” (2006) 32 x 40 cm – Copia Pigment Print<\/sub><\/figcaption><\/figure><\/div>\n\n\n
<\/div>\n\n\n\n

Gonzalo Guzm\u00e1n<\/a><\/h3>\n\n\n\n

Finalment, les dues escultures de Gonzalo Guzm\u00e1n<\/a> ens indueixen a una reflexi\u00f3 sobre com l\u2019art es relaciona amb el seu context. La capacitat de les escultures per reflectir el paisatge que l\u2019acompanya posa en evid\u00e8ncia com el context influeix en la percepci\u00f3 de l\u2019obra d\u2019art. Aquesta interacci\u00f3 din\u00e0mica entre l\u2019obra i el seu entorn convida els espectadors a considerar com el context modifica la nostra experi\u00e8ncia i comprensi\u00f3 de l\u2019art i el m\u00f3n.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"\"
Estela_23″ (2024) 120 x 32 x 24 cm – Acero Inoxidable<\/sub><\/figcaption><\/figure><\/div>\n\n\n

Aix\u00ed, \u201cLandscape Untitled 2\u201d \u00e9s un recorregut per diferents interpretacions del paisatge, des del tangible i f\u00edsic fins a l\u2019imaginari i sensorial.<\/p>\n","protected":false},"excerpt":{"rendered":"

Fa 32 anys, la galeria SENDA va obrir les seves portes i va dedicar l\u2019estiu a una exposici\u00f3 que va ser clau en la hist\u00f2ria de la galeria titulada “Landscape Untitled”. En ella, va convidar a Albert Oehlen, Christopher Wool i Peter Halley, un artista amb qui mantenim la relaci\u00f3 i que exposarem despr\u00e9s de […]<\/p>\n","protected":false},"author":142,"featured_media":107811,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-107816","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gallery-ca"],"acf":[],"yoast_head":"\nLandscape Untitled 2 | Galeria SENDA<\/title>\n<meta name=\"description\" content=\"Fa 32 anys, la galeria SENDA va obrir les seves portes i va dedicar l\u2019estiu a una exposici\u00f3 que va ser clau en la hist\u00f2ria de la galeria titulada\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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