Month: August 2022

Studio Visit with Anthony Goicolea

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VOLUME I

‘I normally start my day drawing,’ says Anthony Goicolea at his studio in Williamsburg, Brooklyn. ‘Eventually, one of those drawings will tell a story, then it becomes a painting.’

The New York based artist, first-generation Cuban-American, invited us to his luminous studio a Sunday afternoon in New York City.

Making use of a variety of media, Goicolea explores topics ranging from particular history and identity, through cultural tradition and heritage, to alienation and displacement.

His diverse oeuvre encompasses digitally manipulated self-portraits, landscapes, narrative tableaux executed in a variety of media, including black-and-white and color photography, sculpture & video installations, and multi-layered drawings on Mylar.

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As I walk in, I am immediately captivated by the atmosphere of the studio. In the heart of Brooklyn, illuminated by a radiant mid-afternoon sun, we are greeted by some of Goicolea’s most recent pieces displayed around the space. All of them dialogue with one another creating at first an aura of contemplation and after a few minutes, of debate.

Goicolea at the studio, behind him: ‘Vigil, 2021’
The artist showing one of his recent projects

Anthony moves comfortably around the room picking out different paintings and carrying them from one place to another to get a better view. His active and energetic spirit gracefully guides us around the studio, showing us his latest creations and allowing us to enter his most personal creative space.

In ‘Crossing, 2021’, an oil on linen from 2020, four visible figures stand in front of an inflatable boat full of old bicycles, two other figures stand behind merging with the background.

Goicolea holding ‘Vigil, 2021’
The artists points at one of his recent works: ‘Crossing, 2020’

As an unresting curious artist, he’s always looking for innovating challenges. I noticed the great variety of sizes of the canvases and discovered that the dimensions weren’t random. Goicolea builds his own canvases to give life to his paintings, facilitating the process of projecting his drawings onto the fabric in a more personal and approachable way.

Goicolea’s pencil drawings on the wall
In the far back: ‘Portrait of A Franciscan Monk Giving A Confessional Reading to Aldo Londi Circa 1962, 2020’
The artist carrying ‘Fountain, 2021’

In past series, many of the images were devoid of humans. In those works, primitive lean-tos and crudely constructed shanties coexist in an uneasy union with the technological vestiges of an industrialized society. Suggesting a world on the brink of obsolescence, these chilling images further cement the pervasive undercurrent of human alienation—from one another as well as the natural environment—that can be traced throughout the artist’s work.

‘Odalisque with Kickstand, 2021′

However, it seems like Goicolea has officially entered –or, revisited– a phase in which his own personal history becomes the root of his inspiration by, once again, exploring his roots and family heritage with a different technical perspective.

These poignant, almost cinematic images are characterized by a fervent search for ancestral & social connections to his homeland: Cuba— revealing nostalgia for a past that the artist didn’t experience & a sense of cultural dislocation and estrangement.

‘Vigil, 2021’
Anthony posing for Galeria SENDA during our Studio Visit

See anything you like?

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Featured pieces:

Anthony Goicolea – Portrait of A Franciscan Monk Giving A Confessional Reading to Aldo Londi Circa 1962
Anthony Goicolea – Vigil
Anthony Goicolea – Soldierette with Wild Flowers

New sculptural doors of Jaume Plensa at the Liceu de Opera in Barcelona

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The stainless steel sculptural doors by Jaume Plensa at the entrance to the Liceu are already in place at the Rambla Coliseum. Although its final assembly has not yet been completed, this Tuesday it has already been possible to see how the three impressive trellises made by the Catalan artist, who has closely followed the work, will look.

Its placement has captured the interest of many passers-by due to the originality of the large structures, half a ton each. Its inauguration is scheduled for September, coinciding with the return to activity at the Lycée Until then, they will be covered with a tarp.

Baptized with the name of ‘Constelaciones’, they are “a homage to the Liceu, to music, to the bars of Gaudí and also to  Miró, which is close by”, commented Plensa in reference to the latter’s mosaic in Pla de l’Os, at the presentation of the project last May.

“It is also a tribute to the diversity of the Rambla, which is the artery of diversity in Barcelona.” For this reason, the reflected piece is made based on letters of alphabets from many cultures.

Beyond giving a special seal to the building the function of the doors will prevent people from staying in the arcade at night, as usually happens. Although he publicly apologized for his “unfortunate words”, that is how Víctor García de Gomar described the problems at the entrance to the Liceu as:

“Sometimes we find ourselves in hell. It is necessary to protect this space so as not to be complicit in things that happen here, from people who shoot heroin, people who want to sleep, situations such as rape and prostitution.“

Text, information and images:

https://www.elperiodico.com/es/ocio-y-cultura/20220809/puertas-escultoricas-jaume-plensa-liceu-la-rambla-primera-imagenes-14250609

https://www.lavanguardia.com/cultura/20220809/8458396/puertas-plensa-liceu-instalacion.html

Jaume Plensa’s doors are installed at the Liceu in Barcelona

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Jaume Plensa‘s stainless steel sculptural doors stand majestically at the entrance to the Gran Teatre del Liceu, marking a new era for this iconic coliseum on Barcelona’s Ramblas. Although their final installation is still in progress, passersby can already glimpse the magnificence of these monumental structures, each weighing half a ton.

On Tuesday, onlookers witnessed how the three imposing trellises designed by the acclaimed Catalan artist, who has closely supervised every stage of this ambitious project, will look. As the September opening date approaches, coinciding with the expected return of activity at the Liceu, these works of art will be temporarily covered with a tarp, further heightening anticipation among citizens and art lovers alike.

Image of the facade of the Liceu's steel doors

Christened with the evocative name of “Constel·lacions“, these doors represent much more than simple architectural elements. They are a tribute to the Liceu itself, to the music that has filled its halls over the years, to the emblematic grilles designed by Gaudí and to the nearby legacy of Miró, whose mosaic adorns the nearby Pla de l’Os.

But beyond their aesthetic value, the doors also have a practical function: to preserve the safety and integrity of the surrounding space. By preventing people from taking refuge in the arcade at night, these works of art play a crucial role in protecting the environment, as Víctor García de Gomar, artistic director of the Liceu, pointed out in a previous statement. “Sometimes we find ourselves in hell. It is necessary to protect this space so as not to be complicit in things that happen here, from people shooting heroin, people who want to sleep, situations like rape and prostitution“.

Plensa‘s art not only beautifies the Liceu, but also serves as a reminder of the diversity and cultural richness that defines Barcelona’s Ramblas. Made with alphabet letters from diverse cultures, these doors are a symbol of inclusion and respect for the plurality that characterizes this emblematic artery of the city.

In the midst of controversy and discussion about the fate of public space, Plensa‘s doors represent a balance between aesthetics and functionality, between artistic expression and practical necessity. With their placement, it is hoped that the Liceu will not only be a place of artistic excellence, but also a safe and welcoming refuge for all who visit it.

Interior image of the doors of the Liceu

Excerpt from El Periódico and La Vanguardia

The Museum of Reus exhibits Jaume Plensa’s work

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The Reus Museum exhibits at its headquarters in the Raval de Santa Anna the piece “Duna’s World II”, a work by the sculptor Jaume Plensa, which is part of a col private collection, lent to the city by the Senda Gallery.

Jaume Plensa born in Barcelona in 1955 is one of the greatest exponents of the current sculpture scene, and internationally known, especially for his pieces of art in public spaces.

“Duna’s World II” is another representation of Jaume Plensa‘s idea, a young face, sculpted directly on the marble, with an incredibly smooth surface that is a clear tribute to the purity of youth.

The face, with closed eyes transports us to the world of inner reflection, of introspection, of peace, like a utopian portrait of human thought. With its contemplation Plensa invites us to better feel our deepest being and abandon ourselves to the time of thought.

The face, with closed eyes, transports us to the world of inner reflection, introspection, peace, like a utopian portrait of human thought. With its contemplation, Plensa invites us to feel better our deeper being and leave us in the time of thought.

El rostro, con los ojos cerrados, nos transporta al mundo de la reflexión interior, de la introspección, de la paz, como un retrato utópico del pensamiento humano. Con su contemplación Plensa nos invita a sentir mejor nuestro ser más profundo y abandonarnos en el tiempo del pensamiento.

“Duna’s World II” is a unique piece of marble, 183 x 67 x 58, created in 2015

With the sale of this piece, Reus will have two works by Jaume Plensa. In 2003, the sculptor created the piece ‘Body of Light’ which is installed at the entrance of the Xavier Amorós Central Library.

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Museo de Reus receives “Duna’s World II” by Jaume Plensa

Posted on by SEO Senda

Museo de Reus has opened its doors to present a true jewel of contemporary art: the exceptional piece “Duna’s World II” by acclaimed sculptor Jaume Plensa. This work, part of a private collection on loan from Galeria SENDA, has found its home in the historic headquarters of the Santa Ana district, adding a new and vibrant cultural dimension to the city.

“Duna’s World II” transcends the mere category of sculpture to become a gateway to the artist’s fascinating universe. It is a living testimony of his artistic ideology and a celebration of eternal youth. Masterfully carved in marble, the delicacy and smoothness of its surface invite the viewer to approach and be enveloped by its mystical aura. The face, with eyes closed in a gesture of serene contemplation, suggests a state of deep reflection, an irresistible invitation to explore the innermost recesses of our own consciousness.

Jaume Plensa, renowned for his ability to capture the very essence of the human being in his works, leads us on a journey of self-discovery towards inner peace and spiritual harmony. “Duna’s World II” reminds us of the vital importance of introspection and invites us to immerse ourselves in the time of thought, where we find the serenity and balance so longed for in the tumult of modern life.

Sculpture of a marble face by Jaume Plensa
Sculpture of a marble face by Jaume Plensa
Image of a person photographing a sculpture of a marble face

“Duna’s World II” is a unique marble piece, 183 x 67 x 58, created in 2015

The transfer of this masterpiece represents an invaluable gift for Reus, which can now boast of having two works by the renowned sculptor in its city In 2003, Plensa left an indelible mark on the city with his monumental creation “Body of Light“, which majestically adorns the entrance of Biblioteca Central Xavier Amorós. With the incorporation of “Duna’s World II“, Reus consolidates its position as an unavoidable cultural destination on the map of contemporary art, attracting visitors and art lovers from all over the world.

If you want to explore more closely “Duna’s World II“, in addition to approaching Museo de Reus, you can watch this video of Canal Reus where the details of the work are explored, in addition to hearing a few words from the councilor of culture of the City of Reus, Daniel Recasens, and the delegate of the Government of the Generalitat in Camp de Tarragona, Teresa Pallarès.

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