Those who want to discover all the secrets behind one of the most emblematic works in the history of art, have an appointment with the exhibition Picasso The journey of 'Guernica' which, from yesterday and until next March 13, can be visited in a tent located in the San Telmo Park.
The exhibition is a project in which the Obra Social de la Caixa, the CajaCanarias Foundation, and the Reina Sofía Museum collaborate with the City of Las Palmas de Gran Canaria, and has a schedule of visits from Monday to Friday, from 12.30 to 14 hours and from 17 to 21, and Saturdays, Sundays and holidays, from 11 a.m. to 2 p.m. and from 5 p.m. to 9 p.m. The Guernica de Picasso is one of the most well-known, reproduced, admired and reinterpreted works of history, and an icon of the 20th century. Originally created for the International Exhibition of Paris in 1937 as an element of propaganda in favor of the Second Spanish Republic, the painting was later placed at the service of the refugees of the Civil War. Shortly after, after the Second World War, the work was deposited in the MoMA, where it remained for more than forty years, and became a symbol of modern art.
The advisor of the exhibition, Manuela Pedrón, recalled, during the presentation, that Guernica "has been a very traveling work" since from Paris it went to New York, from São Paulo to Stockholm, from London to Milan, from Munich to Madrid , between many cities in Europe and America.
Likewise, the painting of the Spanish painter "has been an emblem in all kinds of citizen uprisings and protests" ranging from the Vietnam War in the 1960s to the one in Syria and the refugee crisis. Pedrón made these statements in an act in which she was accompanied by the Councilor for Culture of the City Council of Las Palmas de Gran Canarias, Encarnación Glaván, the Business Area Director of CaixaBank in Gran Canaria, Isabel Casal, and the Director of the Foundation CajaCanarias, Natalia Aznárez. The expert highlighted that the project proposes a universal tour of this work, from its creation in 1937 to its permanent location in the Reina Sofía National Art Center Museum, in 1992. The advisor commented that the visitor "will be able to discover the creative process that led out the genius of Malaga to carry out his work, as well as its meaning of anti-war denunciation and the reasons why he traveled all over the world for more than four decades, especially the United States and the United Kingdom. "
The exhibition includes audiovisuals, photographic reproductions and vintage posters, and facsimiles of documents and drawings that seek to explain the history of this creation. One of the first panels, Bombs about Guernica, shows the social and political context of the moment, with newspapers and posters that gave testimony of the news of the bombing of the small Basque town, as well as projections about the bombing. "Picasso heard about the event through the newspapers L'Humanité Y Ce Soir that acted as a reagent for the Andalusian artist to carry out the task of the Republic around the teror and the pain in the face of violence ".
One of the most interesting parts carries the title of Readings and interpretations where stands out, among others, the work of Ad Reinhardt published in 1947 with the title of How to look at a Mural: Guernica, a guide in the form of vignettes from the satire where the value of each symbol of the painting is indicated, ranging from the use of black and white to the tension of the horse and the bull, through the expressive force of the hand, the head or
the mutilated arm.
In the painting twelve symbols are represented: six human beings and three animals. The work reflects the duality of two paintings in one: the left part as the interior of a house and the right part as the exterior, and for the unification of the different aspects of the painting, Picasso uses the technique of synthetic cubism, drawing a line straight along the frame unifying the unconnected shapes.
The Guernica He arrived in Spain on September 10, 1981 and the first location was the old ballroom or Casón del Palacio del Buen Retiro that later became the museum headquarters attached to the Prado Museum. The transfer of the painting and the forty works associated with it to the Reina Sofía Art Center entered the political agenda in 1986, but it was not deposited in its premises until the building was fully renovated in 1988.
Pedrón recalled Picasso's tension with the Franco regime "since he demanded that the painting only return to Spain when political stability was restored", a topic that can be explored in the sections Picasso and the Cold War or Picasso and the end of the transition. A television shows one of the few interviews that the Spanish genius did before a television in France where he speaks very simply of his work, and the last panels are the logos that the different movements have used from the symbols of the painting.
Isabel Casal stressed the social commitment is the "soul" of La Caixa, an entity that allocated 500 million annually in the last decade to help the most vulnerable Spain, 15 million last year in the Canary Islands, three million to deal with local actions with the most needy of each municipality.
The representative of CaixaBank highlighted two of the numerous projects that the Obra Social La Caixa develops in the capital of Gran Canaria: Caixa Proinfancia, since 2007 it has served more than 7,000 children and 4,300 families; and Incorpora, which integrated more than 1,000 unemployed people in vulnerable situations into the labor market in 2018.