The Valencian Institute for Modern Art presents Homage to Tapies, an exhibition on view Feb 20 – Mar 20, 2012.
Tàpies’s work is complex, as all genius, because it created a very personal style full of a symbolism in which he found inspiration in signs of ancient civilizations and cultures, science, poetry, philosophy zen in the telluric landscapes, materials poor and humble, in the uprising, freedom and political commitment.
Tapies was a poet and an intellectual of the most unpredictable, an expressionist concentrated on building content and texture, calligraphy, numbers, colors, earthy, mysterious and transcendent signs and crosses and lines arranged in abstract patterns.
As a tribute to excellence and artistic intelligence of this great artist, the IVAM devoted an exhibition to show six of the most important part of your collection.
La ligne rouge (Negre amb línia Vermella), 1963. Mixed media on canvas and wood. This piece is a classic of our times which shows that the material informalism masterfully led Tàpies. Here we perceive a genuine crossroads of ideas and ways in which elegance come together to the constructivist tradition, the drive figurative, experimentation with new materials and the breakdown of the two-dimensionality in painting.
Great paquet of palla, 1969. Mixed media on canvas. As seen in this painting Tàpies shows no objects as they are, but incorporates them into his personal language. This work is part of the artistic interpretation he makes of life and landscape understood in its simplicity and nakedness. In the late sixties and early seventies, the artist intensifies its work with objects and brush strokes that jump off the table limits. Tàpies had worked intensively with the object world since the 50’s, but now it does so renewed, coinciding with the Arte Povera.
Cabells Collage, 1985. Mixed media on wood. The artist made this work with a technique focused, once again, real objects ephemeral to rise to a new higher level. With the addition of human hair to work, the actions associated Tàpies ennobles human nature to which he dispensed of his artistic investigations.
Love mort, 1980. Acrylic on canvas. In Love mort shows many of the games that run opposite the artistic production of Tapies. The artist incorporates the word ‘love’ to break it down and give it a meaning opposite. Similarly the relationship between positive and negative is marked by the two symbols including the ends of the canvas. Also the intensity contrast between the black and the opportunity to break with that inserts White, continues to set the path of antonyms by both liked it.
Surface traces grise aux rosâtre noires, 1962. Mixed media on canvas. Intellectual control with which the artist imbues his work surfaces with the predominant forms near monochrome tones that always remind us of mysterious landscapes and imagined territory is reflected in this work where the regions are gaining ground earthy browns and any other tonality. The ‘no place’ is portrayed in this painting surface which shows a hermetic and mystical world of difficult access due to the irrationality of their reading.
Grey zinc amb perforacions, 1958. Mixed media on canvas and wood. Tapies, with studies like this, came to the material informalism telluric and abstraction from a lyrical Spanish Renaissance poets based on ascetics, subsequently rooted in Eastern mysticism that supported their own language and enigmatic: the color earth, that of a disordered order, the silences and gaps, the gaps in stitches and on the surface, the pigment mixed with materials of all kinds, in short, the domestic reality as art.
www.ivam.es