The Canary Foundation for the Development of Painting (FCDP), based in Domingo J. Navarro, nº 32, in the capital of Gran Canaria, explores the use of black and white colors in contemporary art through 16 works that belong to its collection, and that they are presented in public under the heading of Unequivocal.
The exhibition, which opened last night and will remain at the Foundation until May 16th -open to the public on Thursdays, and other days by appointment- gathers pieces by Antoni Tápies, Pablo Palazuelo, Christoph Steinmeyer, Erick Beltrán, José Bedia , Juan Gopar -the only Canarian artist present at the exhibition-, Juliao Sarmento, Paco Pomet, Vânia
Mignone, Juan Muñoz, Raúl Domínguez, Santiago Ydáñez, Juan Uslé, Fernando Bryce, Adam Pendleton and Sandra Cinto.
Is Unequivocal an invitation to discover different languages and sensibilities in contemporary art through a common bond, which is none other than the "neutral chromatism" that matches the 16 works and their creators. And it is that the chromatic range that is applied to any work, according to the people in charge of the entity, conditions the pictorial representation based on the colors that the artist uses.
"After the explosion of color we had with Jiri Doukoupil – the previous one shows Unequivocal– an exhibition was already prepared with funds from the collection based on black and white, its duality, "explains Yaiza Tranche, director of the Canarian Foundation for the Development of Painting." In his opinion, "the union of these two colors it generates a strong psychological effect, such as the truth, the absolute, the unequivocal, and hence the title; we wanted to pay homage to these two magical colors and it is a pretty chromatic combination, even though they are in black and white colors ".
According to Yaiza Tranche, this project makes it possible to make "a journey through different years and national and international artists and different styles, taking into account that the oldest work in this exhibition is that of Juan Muñoz, a 1994 engraving – Interior of gabardine Ej.4 / 35-, and the most recent one is Adam Pendleton, from 2017 – A Victim of American Democracy , silkscreen and spray painting on canvas- that reflect different styles and stages, always within contemporary art ".
The choice of works among a collection of around 700 pieces has not been an easy task. "It was made with the works that we have according to styles, colors and artists that allowed a narrative discourse that was interweaving with what we wanted to do with this exhibition", emphasizes the director of the Foundation.
"It has been complex when choosing the 16 works that make up the exhibition, and those that are not exhibited now will be used in the next ones.The collection revolves around 600 and 700 works, different formats and authors, the fund is there and you can do countless projects. "
From the pieces that the visitor finds in the gallery of the Canarian Foundation for the Development of Painting, the director Yaiza Tranche first of all repairs the work of Pablo Palazuelo. Of the Madrid resident who died in 2007, his "minimal, linear abstraction stands out, although he tries to create an abstraction with feeling" for which he found inspiration in disciplines such as philosophy or mathematics.
Next to Palazuelo, the American Adam Pendleton, who "makes a continuous reivinidicación of African-American rights in the United States, a rights that according to him are recognized but not accepted, and calls his works Black DadaHe always uses language to make a political and vindictive discourse. "The figure of Antoni Tápies also emerges with authority in Unequivocal, and his work Muntanya Blanca, mixed piece on wood of 2004, they drive all the looks. "He is one of the fathers of informalism, a very material artist, who plays with many elements, collage, scratching, the superposition of pieces in the works, with their characteristic symbols."
Gopar and 'Nidos'
The work of Juan Gopar is the only one of Canarian stamp, and here emerges a work No title, ink on paper wrapped in the series Nests, of 1997, in which "it reflects the natural architectures", in this case a nest of birds, that seems like a critic to the dictatorship of the cement.
Not all the pieces of the 16 included in this exhibition play to experiment with the minimum trace and the concept that less is more. This is the case of Jaén artist Santiago Ydáñez, who winks at the Baroque imagery in Judith and Holofernes, acrylic on linen of 2016, in which to formulate a reinterpretation of Caravaggio.
The Brazilian Sandra Cinto with her "dreamlike nature to escape from the city"; or the ironic speech of the Granada-born Paco Pomet with Breaking News; wave Industrial bay, carbon prints and graphite on paper, are other contemporary art exercises here.
The Foundation opened its doors in July 2016, and has achieved loyalty to an audience that repeats visits to each exhibition. With five exhibitions, including Unequivocal, the balance is satisfactory. "This is a cultural benefit to the city to show our collection, because we do not sell works or collect tickets," says the director.