Sorry, this entry is only available in European Spanish.
The partner Juan Fernandez inaugurated last June 1 the exhibition entitled “De palabras y colores” in the Exhibition Hall of the Ateneo de Madrid, which can be visited until the next day 15, Monday to Saturday: from 10 am to 2 pm . and from 18 to 22 h. Sunday: From 11 a.m. to 2 p.m.
The exhibition is told by Javier Seco, Gallerist and Commissioner of the exhibition:
The exhibition project entitled “De Palabras y Colores”, whose main idea is to combine the word, in the form of poetry, with visual arts and color, starts with an itinerant vocation since, since its first showing and premiere, last May, in the Museum of Huelva and then in July presented at La Casa del Cable in Jávea (Alicante) as well as in the City of León Auditorium, last November, follows its exhibition journey and this time it can be seen at the Ateneo de Madrid from 1 to June 15 at Sala times. The exhibition will continue its itinerary in the month of July to be hung in the Casa_Museo Juan Ramón Jiménez de Moguer (Huelva).
This exhibition, singular and inclusive, extends what we understand as a pictorial sample, which is, with paintings by Juan Fernández, also visualized with framed poems and that, using new technologies such as QR code, will be able to hear visitors in the voice of its author , the poet Juan Ceada, with a background of classical music.
In a way, this exhibition opens the way and fuses, in the same space, the art of painting, poetry, declamation and music.
The partner Tina Hernandez inaugurated on May 16 an exhibition that under the title of “Poems sin palabras”, exhibits her latest works.
The exhibition, which can be visited until May 31, was presented by Manuel Domingo Castellanos:
“From Tina we can say that he enjoys playing with the form, turning the objects to contemplate their different views and reconstructing them with their different appearances.
Organizing the painting by planes, showing a structure that presents the viewer with a geometric and aesthetic space.
These approaches were those that evolved the artistic panorama of the 20th century, laying the foundations for a new way of seeing.
Not only the surprising spatial concept characterizes this artistic current, so little understood by those who have not tried to compose a painting. Cubists, in their contempt for appearances, invented “collage” to avoid imitating objects
and its textures. His works were based on giving clues that help the viewer, so that he can read the picture.
The cubist language is transformed into a personal world thanks to the colorful rhythms and the subtle materials of Tina. She composes with delicacy and exigency the organization of the elements that make up the theme of the painting, whether this still life or landscape, they always adhere to the same guidelines of passion and order, beauty and measure. Its textures of white and transparent veining streamline large flat surfaces, gently tearing fragments of color that thus enter into movement and become immaterialized.
By areas beats the rumor of floral prints that can be tactile suggestions or serve as flowers in a vase. Some dirt grains splash the edges eliminating the cold hardness of the straight line. Let us also note that the painter soaks the colored canvas, without accepting the proclamation of the first Cubists advising to limit the palette to the browns, the lands and the black.
Passion, order, beauty and measure. Despite the difficulty of their combination.