"The only rule that exists in the Luján Pérez School is that there are no rules since we start from the complete freedom of the artists, this has been the case since the 50s until now, and that is the starting point of this show. "These are the words of Orlando Hernández, current director of this historic Canarian talent factory, when referring to the exhibition The School of free art. Convivium, which opens next Monday, December 10, at 7:00 pm, in Pepe Dámaso Cultural Center and where it will be exposed until the 28th of this month.
A total of 18 works by as many living artists of this school, and within the activities to celebrate its centenary and to finish the Circuit of Plastic Arts of Gran Canaria, exhibit their works. Three collectives have circulated in almost all the municipalities of the islands with funds from 70 living artists from their classrooms. The first, Construction and sea, focused on landscape works. The second, Aboriginal substratum, He remembered the first settlers of the Canary Islands. And the latter is an overview that includes all types of topics that have been in the School since the second half of the twentieth century.
In this way, there is from the surrealism of Julio Viera Y Paco Juan Déniz, until the expressionism of Juan Cabrera, going through the engraving of María Izaguirre or the photograph of Manolo García Núñez. "There is a surrealist, an expressionist, and a figurative part in the show," Hernández points out. "It is the convivium of a school that is not marked by guidelines, a place where artists paint according to the movements that are arriving, and where people experience whatever they want."
For its part, the art historian Laura Teresa García Morales says that this exhibition shows "the ideology of a school that promotes creative freedom, tolerance on the way of learning, where the intuitive and free-temperamental has always been the essence of his teaching. " The expert recalls the words of Juan Rodríguez Doreste in his book School of Decorative Arts Luján Pérez where he affirmed that the School "was not an academy or a teaching center but an art laboratory where spontaneity is rewarded". For the curator, a tribute to the surrealist master is called by Julio Viera entitled Salvador Dalí encased in great ideas where he imitates the genius of Figueras through a recreation of his famous drawers. And it highlights the presence of Eliseo Méndez Nieto with the work Tribute to Magritte in a reinterpretation of his painting The son of man of 1964.
According to García Morales, authors like Francisco Lezcano or Paco Juan Déniz, they bet on "a world of reverie, where fantastic beings live and impossible situations occur". And according to her, the "stubby four-finger characters" of Octavio del Toro or "fragmented atmospheres" of Adriana Nazcto. On the other hand, Maite Bermúdez or Juan Cabrera, offer "an almost stony image of the human face, which seems to suggest our brittle consistency," he says.
The same happens with Pedro Lezcano, "although this stops especially in recreating the textures of the flesh, it reveals in a way that borders on the unreal, the vulnerability of people in the face of the need to receive love, and the delicate line between despair and the corrupted body" .