MIRALDA -Soldats Soldés-

Off projects. From 27 Feb, 2019 to 03 Mar, 2019

Galeria SENDA will be presenting at ARCOmadrid 2019 in the main session (stand 9F08) and additionally a special project, "Soldats Soldes” of Miralda (9F08A) that will show photograph produced in the 60's and 70's and are presented to the public for the first time.

Opening:27 Feb, 2019

Professional visitors:27 Feb, 2019

Opening to public:1 Mar, 2019

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After more than 40 years hidden in his studio, MIRALDA brings out for the first time a group photographs of the famous series Soldats Soldés. This composition, all vintage copies, were taken by Miralda in Paris revealed in black and white between the years 1965 and 1970.

The series commonly know as Soldiers, is probably, the one who helped the most to get know to Miralda in the international scene, the toy soldier, accumulated over collages or inserted in found elements such as furniture, sculptures or public monuments, constitutes the first approximation to the ideas of seriality and files. This series is being widely exhibited on museums and institutions and is part of important collections such as ARTIUM, Fonds National d’Art Contemporain, Ministère de la Culture et de la Francophonie, París – Armario, Colección Sylvio Perlstein, Amberes Armoire de Toilette, Colección Musée Cantini, Marsella, Fundación La Caixa, Barcelona, IVAM, Valencia, Museo Nacional Centro de Arte Reina Sofía, Madrid y MACBA Barcelona.

Together with Galeria Senda, Miralda has decided to celebrate the recent award Velázquez de Artes Plásticas 2018 through this individual presentation in Arco hat forms an anti-war plea and documents critical actions with the political situations of that time.

In the main session (booth 9F08) we will be presenting new pieces by our artists  AES+F, Stephan Balkenhol, José Pedro Croft, Peter Halley, Ola Kolehmainen, Miralda, Túlio Pinto, Jaume Plensa, Aitor Ortiz and Glenda León.

 

Miralda, Intervención Musée Galeria #1. VI Bienale de París, [Soldats Soldés], 1969, silver salt print, 16.5 x 24 cm
Miralda, Intervención Musée Galeria #1. VI Bienale de París, [Soldats Soldés], 1969, silver salt print, 16.5 x 24 cm
Miralda, Essais d'Amelioration. Intervenciones urbanas #2 [Soldats Soldés], 1968/1969,  silver salt print, 16.3 x 23.7 cm, Ed. of 3
Miralda, Essais d'Amelioration. Intervenciones urbanas #2 [Soldats Soldés], 1968/1969, silver salt print, 16.3 x 23.7 cm, Ed. of 3
Miralda, Essais d'Amelioration. Intervenciones en paisaje #2 [Soldats Soldés], 1968/1969,  silver salt print, 16.4 x 23.7 cm, Ed. of 3
Miralda, Essais d'Amelioration. Intervenciones en paisaje #2 [Soldats Soldés], 1968/1969, silver salt print, 16.4 x 23.7 cm, Ed. of 3
Miralda, Essais d'Awelioration Duomo di Milano #3, 1969, photographic development with silver salts, 16 x 18.5 cm
Miralda, Essais d'Awelioration Duomo di Milano #3, 1969, photographic development with silver salts, 16 x 18.5 cm
Miralda, Acción Boulevard Montparnasse #5 (Soldats Soldés), 1967, silver salt print, 16 x 24 cm Ed. of 5
Miralda, Acción Boulevard Montparnasse #5 (Soldats Soldés), 1967, silver salt print, 16 x 24 cm Ed. of 5
Miralda, Autorretrato [Soldats Soldés], 1969, silver salt print, 18 x 23.5 cm
Miralda, Autorretrato [Soldats Soldés], 1969, silver salt print, 18 x 23.5 cm
This set of works which included hundreds of white soldiers joined together, made in different supports and exhibited in very different places, were, during the first years of Miralda’s path, a kind of visual badge about his work. Despite the variety of supports and places all the projects started from a same biographical situation, that one lived by the artist himself between 1962 and 1966, a period in which he was doing the Spanish  military service and he could prove first- hand, how suffocating and endogamic was the atmosphere of the military world. Pacifist plea, personal exorcism, parody of mythologies about violence and patriotism archetypes, Soldats- Soldés is an obsessive variation of an identical image, repeated to the paroxysm, and in a certain way, turned off from its original meaning. The toy soldier, accumulated on collages, decorating a daily object, inserted into found objects (fabrics, furniture, sculpture replicas…), or into public monuments (Duomo di Milano and Place de la Republique) constituted a first approach to the ideas of seriality, accumulation and files, characteristics of later works like Santa Comida (1984-89), Honeymoon Project (1986-92) or Food Pavilion (Hanover, 2000).
José Pedro Croft, Untitled, 2019, mixed media on paper, 160 x 120 cm
José Pedro Croft, Untitled, 2019, mixed media on paper, 160 x 120 cm
Glenda Leòn, Discurso incendiario, 2018, máquina de escribir, fósforos, papel de lijar, 15 x 32 x 34 cm
Glenda Leòn, Discurso incendiario, 2018, máquina de escribir, fósforos, papel de lijar, 15 x 32 x 34 cm
Stephan Balkenhol 2013,  Wawa wood painted, 173 x 35.5 x 20 cm (each) Exhibition view, CAC Málaga 2018 ⓒ CAC Málaga.
Stephan Balkenhol 2013, Wawa wood painted, 173 x 35.5 x 20 cm (each) Exhibition view, CAC Málaga 2018 ⓒ CAC Málaga.
Jaume Plensa, Study for Laurelle, 2017, bronze, 56 x 15 x 22 cm, Ed. of 8
Jaume Plensa, Study for Laurelle, 2017, bronze, 56 x 15 x 22 cm, Ed. of 8
Ola Kolehmainen, Sultan Ahmet 1616 II, 2014, C-type print, one framed work, 160 x 160 cm, Ed. of 4
Ola Kolehmainen, Sultan Ahmet 1616 II, 2014, C-type print, one framed work, 160 x 160 cm, Ed. of 4
Túlio Pinto, Complicity #5, 2016, Cement beam, blown glass and rope, 200 x 40 x 90 cm, Ed. of 5
Túlio Pinto, Complicity #5, 2016, Cement beam, blown glass and rope, 200 x 40 x 90 cm, Ed. of 5
Glenda León, Cada lágrima es una forma del tiempo (serie I, n.5), 2018, Watercolor and fake eyelash on paper, 55 x 76 cm
Glenda León, Cada lágrima es una forma del tiempo (serie I, n.5), 2018, Watercolor and fake eyelash on paper, 55 x 76 cm
AES+F, Mare Mediterraneum #9, 2017, Porcelain, painted in color, 48.3 x 70.4 x 32.5 cm, Ed. of 6
AES+F, Mare Mediterraneum #9, 2017, Porcelain, painted in color, 48.3 x 70.4 x 32.5 cm, Ed. of 6
Peter Halley, Terminal, 2018, acrylic, fluorescent acrylic, Flashe, and Roll-A-Tex on c
Peter Halley, Terminal, 2018, acrylic, fluorescent acrylic, Flashe, and Roll-A-Tex on canvas, 171.5 x 216 cm