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The artist Teresa Gancedo exhibits in Madrid after several years of absence in theaters

Gamoneda, the fabulous poet with incomprehensible handwriting, the one who led his first solo exhibition in 1972 in León, although the absolute boom came when his work was chosen to be exhibited in the ‘New Image From Spain’ exhibition at the Guggenheim Museum in Nueva York. This made her, together with Carmen Calvo, the first Spanish artist to exhibit and have work in the prestigious American museum.

María de las Mercedes de Borbón y Orleans, mother and grandmother of Juan Carlos I and Felipe VI, respectively, wanted to buy him a “very small” painting that he became infatuated with, although finally the widow of the Count of Barcelona could not take it to home. “Fernando Vijande, who was a very nickel man, did not let me give it to him because it was already sold,” says Gancedo amused.

Gancedo’s work is represented in numerous museums and collections, both national and international, among others: The Solomon R. Guggenheim Museum; ARTIUM; CAAC; MACBA; MACE; MACVAC; MNCARS; MUSAC or TEA. An art that, as his last exhibition of 2018-2019 at the MUSAC in León showed, is touched by tension and a permanent requirement about what the elusive truth or appearances, the real or its formal expression, the history, the time and its images.

Representation in a trance of discovery, such a momentary vanishing, transfigured gaze, caressing the representation in suspension, Gancedo has been able to transmute the world into an introspective space, such phasmas.

Eccentric abstraction, imitating Lyppard, fading of limits, linking the history of art and life, and abruptly interrupting it, traveling between splits and incorporations, embracing images through appropriations and reappropriations, slipping between the present or the prodigy, its creative world it becomes full of complexity and strangeness.

Narrations such systems of meaning, murmurs in the silence of a language incinerated by mourning, the past or noise. Forgetfulness and the verb of pain, creator-as-creator of meanings in a reality that seems to refer to issues such as the material and the corporeal, a more phantasmatic real world where there is, otherwise, a certain uncertainty, an air of suspension and transit, that seems to mediate with the beholder, since his work reveals not so much a still or shackled element as a state of consciousness, forces or modes of energy necessary to know.

Seeker of images in the wasteland, there is something compelling in Gancedo’s creations, as if the need for a story burns, even now. Memory, uprooting, time, journey between the visible and the invisible, what is or what escapes, the passage of time: with a poetic air his images rise in a declared non-grammatical spirit, narratives in dissolution, such the portion frozen from a time.

Wandering of the vision, there is something in his work of burning and abyss. Painting as estrangement, a journey between restlessness and otherness, from that representation of elements coming from reality tempts the limit, leading us towards a permanent exercise of our own finitude.

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