Centre del Carme Cultura Contempornia 17.02.17 23.04.

17

Collection Fundacin Caja Mediterrneo

The Fundacin Caja Mediterrneo Collection consists of 126
major works by 126 leading Spanish contemporary artists. The
Collection covers the period since the Spanish transition to
democracy in the late nineteen seventies to the present. This has
been an era of art production in which several generations have
coexisted harmoniously as never before in Spanish art. An era of
largesse, marked by its energy, sense of anticipation, discontent,
creativity, and at times naivety, but also by thoughtfulness,
protest, commitment and adventure
The Collection came into existence thanks to the
organizations own decade-long efforts and to the individuals
trusted to build the Collection. It manifests a full awareness
and thoughtful insight into the realities of art production over
this period, and has become a benchmark of recent art in
Spain. All the plastic tendencies of recent decades are present
in the Collection, which focuses on multidisciplinary work and
encompasses the full range of art manifestations.
Since 2012, the Collection has been housed at the Alicante
Museum of Contemporary Art by agreement between Alicante
City Council and the Fundacin Caja Mediterrneo, which has
produced a succession of temporary exhibitions at the museum.
Now, the Valencian Community Museums Consortium have
implemented a retrospective at the Centre del Carme, bringing
together all previous exhibitions in a single show.
Premeditated Discourses.
Exhibition Space 1. Carlos Prez
The void is a place to be relied upon
Exhibition Spaces 2 & 3. Contrafuertes and Goerlich
Geneologies
4 TO BE RELIED UPON
Exhibition Space 4. Ferreres
A Treatise of Human Nature
or Art as a Space of Resistance
3
2 a series of works by women artists that manifest a feminine or feminist
1 Apparently simple pieces, light mild even but which encompass a dense
GROUND FLOOR
Entrance
Exhibition Space 5. First floor
On Reflection
Exhibition Space 6. Dormitory
Fledgling Architecture 6
5
FIRST FLOOR
4 5
A TREATISE OF HUMAN
NATURE OR ART AS A SPACE
OF RESISTANCE
Ferreres Exhibition Space
Like the Scottish philosopher David Hume, art has persistently dissected the
human being in terms of insights into human life, passion or morality. The title
of this part of the exhibition, A Treatise of Human Nature, refers to the text by
Hume, and includes art works that from a position of scepticism represent
the human dimension at the same time as questioning political and social
realities: consumer society, the mass media, advertising, public space, and the
presence of power and its mechanisms of social inclusion and exclusion. These
are narratives of the human body as a figure, as an individual, as a fragment, but
also as a mass or multitude.
In this way, art functions as resistance. These works have a strong
linguistic element they are the heirs of conceptual practice and depict a
landscape in which a transgressive approach to art production reaches a point
at which art dematerializes. Works are constructed as archives, documents,
or fragmented images, involving everyday objects, poor materials and even
unlikely gadgets, all of which are given new meanings.
These artists contemplate their creative process as social transcendence,
a confrontation with power, but also as paradoxical, humorous and ironic. This is
art as critique and as a way of changing the world, an uneasy territory in which
art always makes us think about ourselves, human nature, the individual self
Antoni Abad, Pep Agut, Cabello-Carceller, Daniel Canogar,
JordiColomer, Juan Delcampo, Esther Ferrer, Pedro G. Romero,
Federico Guzmn, Juan Hidalgo, Rogelio Lpez Cuenca, Rafael
Lozano-Hemmer, Enrique Marty, Pedro Mora, Antoni Muntadas,
Ester Partegs, Carlos Pazos, Javier Peafiel, Javier Prez, Jaume
Plensa, Albert Porta, Jana Sterbak, Francesc Torres, Juan Ugalde,
Eulalia Valldosera, Javier Vallhonrat, Santiago Ydez
Centre del Carme Tuesday to Sunday, 11:00-19:00
Cultura Contempornia Closed Mondays.
C. Museu, 2. Valncia
T. +34 963 152 024
www.consorcimuseus.gva.es
As a complementary activity, the Carme Centre
offers guided tours of the exhibition. Book in
advance by phone (Tel. 961 922 649) or by
e-mail: didactica@consorciomuseos.es
1 2/3
THE VOID IS A PLACE
Carlos Prez Exhibition Space
It would be unthinkable to contemplate contemporary art without addressing
the input made by women. The void is a place to be relied upon brings together
approach to looking at reality. A vision imbued with absence, or the presence of
what was or was not; works in which silence predominates, with barely a trace
of what might have been. These are repetitive interior landscapes of subtly
balanced colour, where layering is a central motif, through which time slips
away. Ghostly territories that harbour a constant preoccupation with mystery, a
discursive thread that invariably evokes solitude, nostalgia, emptiness or denial.
symbolic content.
Using a wide range of formats and techniques installation,
photography, collage, sculpture, painting, drawing and film this series of
works provokes a profound impression of desolation, so full of feeling that they
transform narrative into a lived experience.
Rosa Brun, Carmen Calvo, Patricia Dauder, Esther Ferrer, Susy
Gmez, Cristina Iglesias, Eva Lootz, ngelesMarco, Mireya
Mas, Soledad Sevilla, Montserrat Soto, Amparo Tormo
ON REFLECTION
First Floor Exhibition Space
A modo de reflexin invites the viewer to think and reflect. To think about
the very concept of thought/reflection: the action and effect of reflecting on
something, to ponder at length, to meditate, to posit an idea but also to think
about the workings and effect of visual reflection. Reflection derives from
the Latin word reflectio that alludes to the highest functions of the spirit and
predicates the process of thinking at length about something in order to reach
a conclusion. But it also derives from reflexus, alluding to reflection, an image
formed on a shiny flat surface. The reflection of a thing allows it to be seen in
another way, to be projected beyond its immediate appearance and even to
reveal and make clear some previously hidden aspect.
This is the discursive thread running through this part of the exhibition.
The artists and works invite us to reflect on each and every one of their
meanings. Works that trap the viewer through a game of transparencies,
doubles and pairs, layers and reflections imprinted on the floor, on glass,
canvas, a tabletop, or a photograph, exposing the fragility of what is solid and
the mysterious interactions of light and space.
They also constitute a reflection on the very concepts and function
of art; these artistic phenomena dissolve the boundaries between genres
and technique to move towards a hybrid complexity. The works question the
absolute and pause to ponder on the conceptual process of representation,
whereby consciousness, memory, verisimilitude and ambiguity resonate
as a faint buzz: the summation of words, shadows, sounds, each with their
ownreflection.
Ignasi Aball, Jordi Alcaraz, Jos Manuel Ballester, Joan
Fontcuberta, Joan Hernndez Pijun, Llus Hortal, Prudencio
Irazbal, Carlos Len, igo Manglano-Ovalle, Antonio Mesones,
Nicols Munuera, Antonio Murado, Jos Antonio Orts, Jess
Pastor, Javier Prez, Jos Mara Sicilia, Daro Urzay
PREMEDITATED
DISCOURSES
Collection Fundacin
Caja Mediterrneo
Centre del Carme. Valencia
17.02.1723.04.17
GENEOLOGIES
Contrafuertes and Goerlich Exhibition Spaces
Geneologies brings together a series of works by different artists who share
a common creative process that has led to works conformed of many, often
mismatched, parts. These works leave their structure on view, endowing them
with an uncomfortable feeling of nakedness or vulnerability. They address
and transmit the problems of a reality configured in increasingly complex and
fragmented ways, in which ideologies have lost their force, and political, social
or aesthetic discourses remain incomplete, precarious, and often chaotic.
This generation of plastic artists, whose output spans the late eighties
and the nineties, emerged mainly from the Basque Country but attained a
strong and determining presence within the national panorama. A generation
of artists concerned with problems of space, volume and representation, linked
by an invisible thread of familiarity. Although they never entered into the formal
relationships between masters and disciples, these artists certainly seem to
have been aware of one anothers work to the point of constituting a group that
has renovated pictorial and sculptural languages.
Jos Ramn Amondarain, Jon Mikel Euba, Pello Irazu, Manu
Muniategiandikoetxea, Sergio Prego, Santiago Sierra
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FLEDGLING ARCHITECTURE
Dormitory Exhibition Space
This part of the exhibition derives from the interaction between artists and
works in relation to a discovery: the poetics of incipient and embryonic
architectures that formally create literary spaces, the far-off scenery of a dream.
An incidental architecture that responds to a primary need: habitation seen as
a matter of urgency but also as a plastic material, the scenery of a very personal
aesthetic. These artists construct symbolic and monumental spaces out of what
we do not usually look at and do not wish to look at, but which is nevertheless
familiar, overlaid with an appearance of the everyday.
Dignified architectures that construct a narrative landscape located
at the edge where representation meets illusion: constructions of resistance
subverted by the elegance of the images themselves. These are fictional
universes of extraordinary beauty and evocative capacity. Self-absorbed figures
held momentarily at the moment before chaos descends, set in an unstable
equilibrium, where the vulnerable or the fragile shatter. Sometimes they are
spaces of nothingness, sometimes spaces with memory, architectural in spirit,
where dreams disappear of their own accord.
Chema Alvargonzlez, Isidro Blasco, Dionisio Gonzlez, Pedro
G.Romero, Miquel Mont, Daniel Verbis