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Spanish contemporary art worldwide


PARIS. José María Sicilia “Phasma/ La Locura del ver” Galerie Chantal Crousel

january 27 - march 3, 2018




For the first time in France, the artist shows a series of works entitled La Locura del ver (The Madness of seeing / 2015-2016). These abstract paintings mixing colorful shapes translating birdsongs, and silk embroideries, interpret Thomas Young’s experience of 1801’s interferences, a scientific observation that determines the light’s undulatory nature. Simultaneously, the artist also presents Phasma (2017),  a series of new drawings and poems, created in Japan  these last few months, and dealing with the feeling of suicide, life struggle and ephemerality.
José María Sicilia has been shown in institutions such as the Nagasaki Prefectural Art Museum (2008); Amos Anderson Art Museum, Helsinki (2010); Maison Erasme, Brussels (2010); Santa Caridad, Sevilla (2012); Fukushima Prefectural Museum of Art (2013); Matadero, Madrid (2013); Palacete del Embarcadero, Santander (2014); Musée Delacroix, Paris (2015); Calcografía Nacional, Madrid (2016); Museo Casa de la Moneda, Madrid (2017).
Since 2011, he has organized many workshops in Tohoku’s region in Japan (in partnership with Reconstruction Agency and I’m Group), and especially at Iwate, Myagi and Fukushima.
His work is part of international museum’s collections such as Museo Reina Sofia, Madrid; MoMA, New York; Solomon R. Guggenheim Museum, New York; Centre Pompidou, Paris; CAPC, Bordeaux; M+ collection, Hong Kong; MAC’S, Grand-Hornu, Caixa Contemporary Art Collection, Barcelona.(Chantal Crousel press-release)

Galerie Chantal Crousel. 10, rue Charlot. 75003 Paris

Image: José María Sicilia, Phasma, Exhibition view, Photo credits: Florian Kleinefenn, Courtesy of the artist and Galerie Chantal Crousel, Paris

PARIS. Antoni Clavé “Prints” BNF. François-Mitterrand Library/Donors’ gallery

january 9 - february 25, 2018  

Both a painter and a printmaker, Antoni Clavé (1913 Barcelona - 2005 Saint Tropez) was one of these 20th century artists who, like Pablo Picasso and Joan Miró, considered printmaking as a complementary practice essential to painting. His illustration engravings and original prints created as soon as the late thirties to the early 2000 compose a set of works which is particularly interesting from the technical and stylistic point of view.

The exhibition presented at the BnF follows the bequest of a series of prints by Antoni Clavé’s grandchildren. It is concomitant with the publication of a Catalogue raisonné of his printed works. From the first lithographs portraying kings that made him famous in the late fifties to the large-size abstract works of the nineties, the exhibition allows to (re) discover the engraved works of a singular and unclassifiable artist. (BNF press-release)

Bibliothèque Nationale de France, François-Mitterrand Library. Quai François-Mauriac, 75706 Paris

Image. Antoni Clavé, La main noir, 1971

PARIS. "Picasso and Maya: Father and Daughter” Gagosian Galerie

until 24 february 2018

“These pictures are unbelievably true to life. Everything’s here: my little girl’s clothes, my hair, even my toys and yet…” Maya Ruiz-Picasso, 1996

Gagosian is pleased to present “Picasso and Maya: Father and Daughter,” the first exhibition dedicated to the artist’s diverse portrayals of his eldest daughter, Maya.

María de la Concepción, known as Maya, was born on September 5, 1935. During the first ten years of her life she was a constant subject in her father’s drawings and paintings, who observed with fascination and tenderness her physical and mental development. Her mother, Marie-Thérèse Walter, was the artist’s most iconic model. After meeting in 1927 at the Galeries Lafayette in Paris, Picasso and Marie-Thérèse began a long-lasting love affair, resulting in Picasso’s first daughter Maya. Following Maya’s birth, Picasso chronicled intimate details of their private life together en famille, exploring the archetypal theme of maternity. Maya’s portraits reflect the great joy that she brought into the artist's life, even in the looming shadow of World War II. Out of all of Picasso’s children Maya was most frequently depicted, a muse in the image of her mother.

This exhibition presents major works from the 1930s to the 1950s, including a collection of intimate portraits of Maya and Marie-Thérèse, sculptures and little paper cuts-out fashioned especially for his daughter. Like many of his favorite portraits of family members, most of the pieces remained in Picasso's personal collection until his death in 1973. Alongside the artist’s works, a selection of archival material—unpublished photographs, films, letters, and poems—will explore the relationship between father and daughter, while providing an invaluable testimony of this new-found happiness. Curator: Diana Widmaier Picasso. (Gagosian press-release)

Gagosian Galerie. 4 rue de Ponthieu. 75008 Paris

Image: Pablo Picasso, Portrait de Maya de profil, 1943, graphite, chalk, and pastel on vellum paper from spiral notebook, 14 5/8 × 12 1/4 inches (37 × 31 cm) © Succession Picasso 2017

PARIS. “Picasso Primitif” Musée du Quai Branly

28 marzo - 23 julio, 2017

¿Cuál fue el vínculo de Picasso con el arte no occidental? Abordado en varias ocasiones, el tema fue, sin embargo, eludido durante mucho tiempo por el artista. Análisis de una relación construida sobre la admiración, el respeto y el temor

«¿El arte negro? Nunca oí hablar de él. » Con esta y otras provocativas respuestas, el pintor, escultor y dibujante andaluz de esforzó por negar su relación con el arte extraeuropeo. Sin embargo, como lo demuestra su colección personal, el arte de África, de Oceanía, de América y de Asia siempre lo acompañó en sus muchos talleres. Lo demuestran los documentos, cartas, objetos y fotografías reunidas en la primera parte de la exposición, trazando en un recorrido cronológico, los intereses y curiosidades del artista frente a la creación no occidental.

En una segunda parte más conceptual, Picasso Primitivo propone una comparación entre las obras del Andaluz y las de artistas no occidentales, apoyándose más en una antropología del arte que en la constatación de relaciones estéticas. La comparación resultante revela los cuestionamientos similares a los cuales debieron responder los artistas (las problemáticas de la desnudez, de la sexualidad, de las pulsiones o de la pérdida) mediante soluciones plásticas paralelas (la deformación o la desestructuración de los cuerpos, por ejemplo). En este sentido, lo primitivo no se percibe como un estado de no-desarrollo, sino como un acceso a las capas más profundas, íntimas y fundadoras de lo humano. Exposición organizada por el musée du quai Branly - Jacques Chirac, en colaboración con el Musée national Picasso-Paris.(Musée du Quai Branly press-release)

Musée du Quai Branly - Jacques Chirac. 37 Quai Branly. 75007 Paris

Imagen: affiche exposition “Picasso Primitif” Musée du Quai Branly