MANOLO VALDÉS-

POETICA DELLA TRADUZIONEa cura di / curator Kosme de Barañano

www.continiarte.comvenezia@continiarte.com+39 041 5230357

MANOLO VALDÉSpoetica della traduzioneA cura di / curator:Kosme de Barañano

16 giugno - 30 settembre 2018June 16th - September 30th, 2018

Piazza del Duomo / Square of the CathedralChiesa e Chiostro di Sant’Agostino / Church and Cloisters of Saint AugustinePietrasanta

Pontile / PierMarina di Pietrasanta

in collaborazione con

Coordinamento / CoordinationRiccarda Grasselli Contini

Traduzioni di / Translated byValencia Scott ColomboLuisa Zucchini

Fotografi e delle opere / Photographs of worksNicola GnesiEnrique PalacioRicardo SantonjaKosme de Barañano

Ringraziamenti / Special thanksRosa e Manolo ValdésKosme de BarañanoMassimo MallegniLuca Pizzi Maggi autotrasporti

Con il contributo di / With the contribution of

CANTINA E PUNTO VENDITA / WINERY SHOPVia Cucco, 31058 Collalto di Susegana (TV) - ItalyTe l + 3 9 3 3 3 9 6 8 1 9 5 5 - i n f o @ 2 c a s t e l l i . c o m

www.2castelli.com

Informazioni / InformationCentro Culturale “Luigi Russo”, Via S. Agostino, 1 – Pietrasanta - tel. 0584/795500 - www.museodeibozzetti.it

S.T.ART è il coordinamento delle attività ed iniziative culturali e di promozione turistica del territorio S.T.ART is the coordination of the activities and initiatives related to Culture and to Tourist Promotion of the territory.

Con il patrocinio di / Under the patronage

Stampa / Printed

Quest’estate 2018 la Piazza del Duomo, la Chiesa ed il Chiostro di Sant’Agostino, ed il Pontile di Marina di Pietrasanta verranno animate dalle sculture, anche monumentali, dell’acclamato artista spagnolo Manolo Valdés, che ha già felicemente esposto le sue opere in diverse città europee, negli Stati Uniti ed in Cina. Promossa dal Comune di Pietrasanta, quest’ampia rassegna personale, poetica della traduzione, rappresenta un importante capitolo della poetica della traduzione, rappresenta un importante capitolo della poetica della traduzionecarriera artistica del Maestro Valdés e bene si inserisce nel percorso culturale della scultura di Pietrasanta. Le creazioni dell’artista, infatti, sia pittoriche che scultoree, si ispirano, interpretandole con spirito libero e moderno, con un pizzico di retaggio iberico, alle opere di alcuni tra i più grandi artisti della Storia dell’Arte, tra cui Velázquez, Rembrandt e Matisse. Ampliandosi e dilatandosi in grandi campiture e generosi volumi, le fi gure del Maestro Valdés si espandono in tutto lo spazio che le circonda, inglobandolo nell’opera, a partire dalle sontuose vesti alle magnifi che ed eccentriche capigliature, talvolta contenute in rigorosi, giganteschi cappelli, creando vivaci e continui dialoghi di luci e ombre, cui gli spettatori partecipano, anche a loro insaputa.Con poetica della traduzione a Pietrasanta, il Maestro Valdés parteciperà inoltre al Progetto Artistico del DAP - poetica della traduzione a Pietrasanta, il Maestro Valdés parteciperà inoltre al Progetto Artistico del DAP - poetica della traduzioneDanza in Arte a Pietrasanta – Festival, ed. 2018, i cui protagonisti saranno coinvolti con le proprie coreografi e nel mondo artistico del grande artista spagnolo, interpretandolo a loro volta.Ringrazio sentitamente Manolo Valdés, per aver contribuito ad arricchire Pietrasanta con le proprie creazioni, e la Galleria d’Arte Contini, che ha curato il progetto e l’allestimento di questo evento, che sarà di sicuro richiamo per la critica e per il pubblico.

Giuseppe PrioloCommissario

Pietrasanta, giugno 2018 Comune di Pietrasanta

On this Summer 2018, the Square of the Cathedral, the Church and Cloisters of Saint Augustine and the Pier of Marina of Pietrasanta will be animated by the sculptures, also monumental, of the acclaimed Spanish artist Manolo Valdés, who has already successfully presented his works in several European cities, in the United States, and in China. Promoted by the City of Pietrasanta, this large solo show, poetics of the translation, represents poetics of the translation, represents poetics of the translationan important chapter of the artistic career of Maestro Valdés and well inserts itself in the cultural course of Pietrasanta sculpture. In fact, the artist’s creation, both pictorial and sculptural, are inspired, with a free and modern interpretative spirit, that includes a taste of Iberian legacy, by the works of some of the greatest artists of Art History, among which Velázquez, Rembrandt and Matisse. By broadening and dilating themselves in large campiture and generous volumes, Maestro Valdés’ fi gures expand themselves all over the surrounding space, embracing it in the work itself, starting from the sumptuous dresses to the magnifi cent and eccentric hair, sometimes contained in rigorous, gigantic hats, creating in this way lively and continuous dialogues of lights and shadows, in which the viewers participate, even unconsciously.Furthermore, with poetics of the translation in Pietrasanta, Maestro Valdés will take part in the Artistic Project poetics of the translation in Pietrasanta, Maestro Valdés will take part in the Artistic Project poetics of the translationof the DAP - Dance in Art in Pietrasanta – Festival, 2018 ed., which protagonists will be involved with their choreographies in the artistic world of the great Spanish artist, by interpreting it in turn.I would like to sincerely thank Manolo Valdés, for having contributed to enrich Pietrasanta with his own creations, and the Contini Art Gallery, which has curated the project and the installation of this event, that will be of sure acclaim for the critics and the audience.

Giuseppe PrioloCommissioner

Pietrasanta, June 2018 City of Pietrasanta

Pietrasanta è una città magica che ogni anno rinnova la stagione estiva con un’importante esposizione.Quest’anno con Manolo Valdés Pietrasanta si arricchirà con dei capolavori già esposti nei più importanti musei e piazze del mondo.Dopo le grandi mostre di Botero e Mitoraj ed di altri grandi artisti, questa sarà un’ulteriore affermazione della qualità nelle scelte artistiche di Pietrasanta.Personalmente ritengo Valdés uno dei più grandi artisti contemporanei e sono certo che questa mostra sarà apprezzata e goduta nella sua grandezza artistica.Un ringraziamento mi è dovuto verso l’ex sindaco Massimo Mallegni ed attuale Senatore della Repubblica e a tutta l’Amministrazione Comunale.Un grazie particolare ed affettuoso a Manolo e Rosa Valdés che hanno permesso di realizzare questo sogno in terra toscana.

Stefano ContiniPresidente Galleria d’Arte Contini

L’arte nei suoi polisemici linguaggi è da sempre la cifra distintiva della Città di Pietrasanta, crocevia e culla di grandi artisti di fama internazionale che qui trovano i più qualifi cati laboratori artigiani del bronzo e del marmo. In questo contesto le monumentali sculture dello spagnolo Manolo Valdés che saranno esposte quest’estate nei luoghi simbolo di Pietrasanta, così come le sue creazioni pittoriche offriranno ancora una volta il segno tangibile del profondo legame tra la città e l’arte, fungendo da sicuro richiamo per numerosi visitatori dall’Italia e dall’estero così come per la critica specializzata. L’imponente personale di Valdés, dal titolo evocativo Poetica della traduzione, si snoderà dal centro cittadino fi no alla Marina, tracciando un ponte ideale tra l’arte contemporanea e i grandi maestri della storia a cui l’artista si ispira restituendo agli spettatori un linguaggio espressivo nuovo ed originale, che rende il suo stile immediatamente riconoscibile. Opere di indiscutibile bellezza ed originalità composte in un allestimento suggestivo ed armonioso che siamo molto orgogliosi di poter ospitare.Il mio particolare ringraziamento va alla Galleria d’arte Contini che dell’esposizione ha curato il progetto e all’artista stesso che ci offre oggi il suo personale contributo per rendere sempre più Pietrasanta città dell’arte e degli artisti.

Massimiliano Simoni Direttore Artistico Fondazione Versiliana

Pietrasanta is a enchanting city and each year it renews the summer season with an important exhibition. This year, with Manolo Valdés, Pietrasanta will be further graced by masterpieces previously shown in important museums and public spaces worldwide.After the large scale exhibitions of Botero, Mitoraj and other grand artists, this one will once again affi rm the quality of artistic presentations in Pietrasanta.Personally, my opinion is that Valdès is one of the greatest contemporary artists and I’m convinced that this exhibition will be appreciated and applauded for its artistic relevance. I would like to express my gratitude to the former mayor Massimo Mallegni, current Senator of the Italian Republic, and to the entire Municipal administrative offi ce. I wish to also extend particular gratitude to Manolo and Rosa Valdés, who have enabled us to realize this dream on Tuscan soil.

Stefano ContiniPresident, Contini Art Gallery

Art, in its polysemous languages, has always been the distinctive code of the City of Pietrasanta, crossroad and cradle of great artists of international fame, who here fi nd the most qualifi ed artisan workshops of bronze and marble.In this context, the monumental sculptures by Spanish Manolo Valdés, which will be shown this Summer in the symbol locations of Pietrasanta, just as his pictorial creations, will offer once more the tangible sign of the deep bond between the city and the art, acting as sure recall for numerous visitors from Italy and abroad as well as for the specialized critics. The imposing Valdés’ solo show, with its evocative title Poetics of the Translation, will unwind from the civic center until the Marina, by tracing an ideal bridge between the contemporary art and the great Masters of history, from whom the artist gets inspiration, by giving back to the viewers a new and original expressive language, which makes his style immediately recognizable. Works of unquestionable beauty and originality, assembled in an evocative and harmonious installation, that we are very proud of being able to host.My particular thank you goes to the Contini Art Gallery, that has curated the exhibition’s project and to the artist himself, who today offers to us his personal contribution in order to make Pietrasanta always more the city of the art and of the artists.

Massimiliano Simoni Artistic Director Versiliana Foundation

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L’esposizione di Pietrasanta vuole presentare insieme l’opera pittorica e scultorea di Manolo Valdés come un tutto che dialoga e si feconda nella realizzazione e nei suoi problemi quotidiani, tanto iconografici quanto materici. Non si vuole sottolineare l’interesse per la sua scultura in questa occasione con le opere di grandi dimensioni esposte nella Place Vendôme di Parigi, ma si intende porre l’accento su come scultura e pittura abbiano proceduto parallelamente nella pratica dell’artista sin dagli inizi.Per questa mostra abbiamo selezionato alcune sculture e dipinti di Valdés realizzati nel corso degli ultimi vent’anni (dai Desnudos del 1994 alle più recenti Odaliscas del 2017) grazie ai quali sarà possibile addentrarsi nell’estetica e nella filosofia dell’arte di questo grande artista. L’elenco è lungo: le grandi Cabezas di donna che fanno da sentinelle all’inizio e alla fine della mostra, il Caballero e la Dama a caballo, entrambi del 2005, che guardano alla storia della scultura equestre iniziata da Donatello nel Rinascimento, e le diverse teste di donna ora in legno con pittura epossidica blu ora in bronzo che ricordano le vecchie teste della storia dell’arte e che Manolo Valdés traduce nel suo particolare linguaggio, nella sua personale musicalità, a volte giocando con la duplicazione, come ne La Doble Imagen, o con il mondo della maschera, caratteristica dell’arte africana che feconda, agli inizi del XX secolo, la creazione di Picasso o di Brancusi come nell’eccellente Máscara del 2017.Valdés ha realizzato mostre individuali in ogni parte del mondo. In quasi trent’anni di attività in solitario Valdés ha ricevuto numerosissimi premi: nel 1984 gli viene assegnato il Premio Nacional de Bellas Artes di Madrid; nel 1985 gli viene concessa la Medalla Nacional de Pintura de Bellas Artes di Spagna; nel 1986 riceve la medaglia della Biennale al Festival Internazionale delle Arti Plastiche di Bagdad (Iraq); nel 1993 gli viene conferita l’onorificenza dell’Ordine di Andrés Bello della Repubblica del Venezuela, che l’anno precedente era stata conferita allo scultore Eduardo Chillida; nel 1999 viene chiamato a rappresentare la Spagna alla 48ª

edizione della Biennale di Venezia; nel 2005 riceve la medaglia di Chevalier dans l’Ordre du Mérite Culturel Monégasque, Principato di Monaco e nel 2007 quella di Officier de L’Ordre National du Mérit, Francia. Il critico del Financial Times, William Packer, presentando la 48ª Biennale di Venezia criticava il rappresentante britannico Gary Hume ed elogiava così l’opera di Manolo Valdés: “Perché Valdés, a 57 anni, trae ispirazione anche dai prodotti commerciali o dai riferimenti dati, che sia la borsa di un museo o un’opera particolare di Picasso o Matisse. Ma la differenza è che queste opere vengono rielaborate con una tale curiosità intuitiva sia tecnica che immaginativa, così estremamente disciplinata nell’esecuzione che porta sempre all’imprevisto e inaspettato. Le enormi teste-ritratto in legno, basate sui disegni di Picasso di quella che fu la sua amante Françoise Gilot, pulite, brillanti, incise o intarsiate in metallo sono per me la sorpresa più grande e piacevole della Biennale.” Quello stesso anno 1999 partecipa alla mostra collettiva Spanische Kunst am Ende des Jahrhunderts al Museo Würth di Künzelsau, la critica tedesca sottolinea il significato della sua scultura, poco conosciuta perché le mostre si sono concentrate esclusivamente sulla sua pittura, nonostante la scultura sia primordiale nell’artista fin dagli esordi in solitario.La scultura pubblica di Valdés, che viene presentata qui a Pietrasanta, nasce nel 1999 con un progetto per la città di Bilbao, che poi si dilata nel tempo. Nello stesso periodo gli viene affidato un grande progetto sulla Dama Ibérica per una delle rotonde della città di Valencia. Il primo schizzo a grande scala viene presentato all’inizio del 2002 al Park Avenue di New York. Nel 2003 viene realizzata l’installazione della Dama del Manzanares alta 13 metri per 8 tonnellate di peso ad Alcobendas nella comunità autonoma di Madrid. A Valencia nel 2007 viene installata infine la Dama Ibérica alta 14 metri e costituita da migliaia di piastrelle di ceramica, e nel 2009 viene installata a Montecarlo la Reina Mariana. Nello stesso anno la sua scultura viene presentata al Château Royal de Chambord in Francia e lungo la Broadway a New York. Nel 2015 le teste di Valdés vengono riunite in una mostra incredibile al Botanical Garden di New York e nel 2016 vengono installate nella piazza urbana per eccellenza, la Place Vendôme di Parigi.La scultura recente di Manolo Valdés è stata realizzata in edizioni fondamentalmente in bronzo, come le varie serie di teste di donna da Regina del 2005 a Irene del 2006 e Mariposas del 2008, ma anche in pezzi unici in legno e ferro, come Ariadna e Albertina del 2007 o Sienna

UNA POETICA DELLA TRADUZIONE: MANOLO VALDÉS

Odalisca, 2017Tecnica mistaMixed mediacm. 232 x 355

Katia II, 2002Bronzo patina verde scuro e acciaio dipintoBronze with darkgreen patina and painted steelcm. 183 x 56 x 74

Dama Iberica, Valencia, Spagna, 2007

Dama Park Avenue New York, 2002

Dama del Manzanares, Alcobendas (Madrid),Spagna 2003

Reina Mariana, Montecarlo, 2009

Chateau Royal de Chambord, Francia, 2009

Reina Mariana, Broadvay, New York, 2009

Reina mariana, 2001Legno / Woodcm. 175 x 118 x 80

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del 2008, o in ceramica come Iris del 2008, o in piombo come Regina o Lillie del 2008, o in opere in cui combina alabastro, legno e metallo come Mirta del 2009. Molte di queste esperienze di interrelazione tra testa e cappello, come Estella, 2008 e Las Mariposas, 2009 parlano di questa preoccupazione non per il piedistallo bensì per il copricapo, preoccupazione che ritroviamo costantemente in quel libro delle ore che è l’opera di Paul Klee. Un semplice disegno del 1928 (24 x 30 cm, Catalogo ragionato, vol. 5, n. 4568) di Paul Klee si intitola proprio Der Hut macht’s, ovvero il cappello lo fa, riesce a farlo. L’incastonatura dei materiali bronzo e ferro, attraverso il cappello, genera e crea nella scultura di Valdés una dinamica speciale.Nonostante ciò, Valdés è rimasto fedele al suo primo materiale scultoreo, che è il legno. Non lo dimostra solo con la monumentale opera Lillie in legno d’ulivo del 2016. Questa attenzione al legno in Valdés risale al 1982 quando utilizza legno di pino lavorato al tornio o quando allo stesso modo lavora al tornio il marmo nelle sue nature morte alla Morandi. Poi nel 1983 c’è un cambiamento dal geometrico all’organico, che coincide con l’utilizzo della tela da sacco in pittura. Negli ultimi anni Valdés ha usato il bronzo a partire dai modelli lavorati in polistirene espanso ai quali ha aggiunto materiali di scarto. Valdés li sa usare come Picasso sapeva usare la carta da giornale nella sua fase cubista. Molti bronzi sono stati fusi partendo da cartoni, o molti cappelli derivano da materiali riciclati, trascesi nella loro materialità.La proposta estetica di Valdés non è soltanto una delle proposte più valide in Spagna ma evidentemente una delle voci più originali nel panorama internazionale che riflette sulla storia dell’arte. In questo momento Valdés è l’artista spagnolo vivente più internazionale che gode di un apprezzamento straordinario negli Stati Uniti. Anche i temi delle sue opere ripercorrono la storia dell’arte, dalla rappresentazione dei cavalli nella scultura cinese alle immagini dell’arte europea, dal Rinascimento a Matisse o Klee e la Pop Art, o le icone della pubblicità della vita quotidiana del mondo americano, dalle borse del Metropolitan all’immagine del mito infantile Mickey Mouse, o la Ragazza con palla di Roy Lichtenstein, trasformata in scultura lignea. L’opera di Valdés è in questo senso un caleidoscopio di immagini dell’intera storia dell’uomo, un’alleanza tra civiltà, nel significato che a questo concetto dava lo storico dell’arte britannico sir Kenneth Clark (1903-1983) nel saggio dal titolo Civilisation: A Personal View del 1969: civiltà come qualcosa che va oltre la cultura antropologica, “civiltà come

un guardare consapevolmente in avanti e indietro”. L’opera di Valdés è una revisione continua del passato e un’elaborazione ininterrotta di un progetto di futuro, un mosaico che si compone di centinaia di frammenti, un’immagine che nasce dall’accumulazione di tante altre immagini, di sedimenti di tutte le civiltà e di tutti i tempi. Valdés crea questo mosaico con le tecniche dei nostri tempi, con il gesto materico, con il sovvertimento dell’ironia e l’attenzione alla storia.Nel senso della storia dell’arte Valdés mostra un territorio riutilizzato come campo di tiro, come campo prove, come discarica, come quaderno per gli appunti. Da un lato ci restituisce i dettagli come segreti, dall’altro risveglia in noi, potenziate dalla dimensione e dalla tessitura, dalla complicità e dal silenzio, l’immensità e la solitudine che la storia come un deserto di forme ci trasmette.A partire dal dettaglio e dal frammento, Valdés crea una nuova considerazione estetica, un nuovo paesaggio composto come un enorme fregio di sguardi. Tutta l’opera anteriore di Valdés si basa sul senso della parafrasi, delle mutazioni a cui sottomette l’immagine di altri, ovvero della traduzione. L’opera di Valdés si incentra e acquisisce dinamicità nella ricerca e considerazione di determinati dettagli della storia dell’arte o della pubblicità come nel caso di Frasco de Perfume del 1994, con i quali cuce la sua particolare tessera di esperienze estetiche, come spinto dalla necessità di rivedere, di ri-flettere continuamente le immagini dell’uomo, l’unico animale che lascia dietro di sé questo genere di tracce.Nel suo lavoro Valdés si avvicina allo storico dell’arte, è un grande conoscitore della storia dell’arte che raccoglie dati. Ma questa moviola che raccoglie dati e mette in azione Valdés non è una mera memorizzazione di altre opere né tantomeno una banale appropriazione patrimoniale. Attraverso di lei si produce un’immagine, è una zattera; o meglio, una almadía pirenaica, un’imbarcazione fluviale fatta di tronchi che bisogna comporre, la cui funzione primordiale è costruire “le storie già dipinte” mediante concreti elementi osservabili, percepibili. La memoria di Valdés raccoglie percezioni precedenti per creare la propria. Per questo l’œuvre di Valdés, nel suo complesso, si costruisce, lo ripeto, come una zattera con tronchi di alberi che a loro volta con-formano un’opera nuova che scivola lungo le stesse acque della storia dell’arte. È una memoria del dettaglio che “rende presenti” le grandi immagini del passato.Valdés frammenta, de-costruisce e ri-costruisce contemporaneamente,

El frasco de perfume sobre fondo amarillo, 1994Tecnica mista su tela di jutaMixed media on burlapcm. 169 x 131

Place Vendome, Parigi, Francia, 2016

Paul Klee, Der Hut Macht’s (The Hat Does it), 1928

Botanical Garden New York, 2015

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alternativamente, senza sapere in che ordine avvengono queste operazioni. Non importa che lo faccia con i volti o i paesaggi, con l’anatomia di un corpo o le nature morte. Tutto in lui è un’immensa riserva di frammenti che nelle sue mani si trasformano nuovamente in immagine.In questo accrochage analitico e barocco che è l’opera di Valdés le differenze tra le tecniche piuttosto che scomparire offrono una dimostrazione di coerenza. Tra il disegno progettato e il colore che lo fa scomparire, se si segue la forma delle sue composizioni, sembra che nella pittura l’immagine nasca da un’accumulazione di superfici, da un’aggiunta di cuciture, mentre nella scultura la produzione di un’immagine nasce dall’ibridazione di più punti di vista. Da una relazione che si stabilisce (in alcuni casi con Velázquez o Matisse, in altri con un flacone di Chanel o un orologio o dei semplici gelati) con una figura precedente. Ma che adesso prende corpo e vita in una dimensione differente e in un linguaggio che è altro, quello di Valdés. La riproduzione di una menina, o di un’infanta, decontestualizzata, individualizzata nella sua solitudine di legno o di bronzo, fa sì che l’immagine perda il suo valore, cessi di esistere per trasformarsi in sostanza di qualcos’altro. Si tratta di un’operazione linguistica: l’icona perde il suo valore e rimane alla mercé del trattamento che le dà Valdés come realtà, a partire dalla torsione che rappresenta il dettaglio visto come unità, che porta in sé quei riferimenti ma, al contempo, vita propria.Tuttavia Valdés si caratterizza per il suo linguaggio personale fatto di riferimenti visivi ma anche dotato di una morfologia propria basata sulla tessitura. Questa è data dall’utilizzo di determinati materiali e insieme dal modo di combinarli. Nelle sculture Valdés utilizza elementi di “saldatura”, elastici, eccetera, come false apparenze. È la tradizione di Julio González con l’impiego della saldatura come elemento espressivo. La manodopera di Valdés è perfetta, anche quando serve per dare l’impressione della rottura. Ed è in questa “impressione” di uso del supporto, di rottura delle forme, di de-costruzione che si ritrovano le radici del suo stile. Valdés guarda a Velázquez anche con gli occhi di Gauguin, come colui che guarda per riconquistare la purezza visiva, ciò che sta dietro al colore: la struttura. Ma lo guarda di fronte come guardano le maschere africane. L’arte africana interessa l’avanguardia degli inizi del XX secolo per due aspetti: la liberazione dalla precisione figurativa e l’enfasi formale nel delimitare e mescolare le tre dimensioni (quello che fa Picasso ne Les demoiselles d’Avignon). Accentuando gli aspetti formali e strutturali senza

limitarsi all’imitazione materiale, gli africani hanno padroneggiato l’arte astratta molto tempo prima degli europei, e questo lo ha visto chiaramente Valdés guardando il quadro di Velázquez.La Dama a caballo parte dal ritratto di Isabel de Borbón (ca. 1629), un quadro, secondo gli esperti, con un intervento limitato da parte di Velázquez forse solo alla parte anteriore e alla testa del cavallo. Ma senza ombra di dubbio l’immagine è stata strutturata dal pittore. Questo è quello che raccoglie Valdés: una struttura dove regina e cavallo conformano una posa, un’unità. E questa è la struttura che esce dal quadro, quella che Valdés fa precipitare, nella sua alchimia formale, nella sua storta di creatore, come una nuova entità, come scultura. Con questa Dama a caballo Valdés riconverte il ritratto equestre della tradizione quattrocentesca di Donatello e del Verrocchio, che negli ultimi secoli era stato alienato (per usare la terminologia marxista) dalla ritrattistica militare degli stati nazionali, in un permanente processo di inflazione. Ora con questa Dama a caballo Valdés posiziona il ritratto equestre in nuove coordinate di senso e di valore. Da un lato, nei suoi quadri trasforma la pittura di Velázquez in maschera; dall’altro, seguendo la lezione delle avanguardie del 1905 con lo sguardo posto sull’arte africana, supera l’immagine di Velázquez, nelle sue sculture, nel totem, nella fascinazione per il primitivo, nei pezzi di cartone che attraversano la frontiera del tempo. Valdés assorbe tutto quello che vede, e soprattutto si diletta parafrasando i suoi maestri, da Velázquez a Picasso, alle maschere africane. Valdés lavora come il cineasta Martin Scorsese, un artista che ha realizzato i suoi remake da altri film, ma nel cui sguardo, in tante inquadrature, è sempre presente la memoria di altri cineasti e altre scene: un cinema da voyeur del cinema, un com-positore di immagini in movimento, come Valdés.La storia delle forme è il tema di Valdés, e lo realizza con ordine, con eleganza, con il senso barocco della forma e con quell’intensità allo stesso tempo cordiale di chi sa che scrive in chiave musicale e dipinge con la saggezza delle avanguardie ma mettendo ogni cosa al suo posto.L’opera di Valdés è legata profondamente al colore, alla luce del Mediterraneo: il colore primario, il pigmento come sostanza che macchia un pezzo di tela o di sacco facendo sì che dalla materia emani la luce. C’è un fine nell’opera, nella composizione da parte di Valdés che non è lontano dalla complessità luminosa dei corpi, senza altro significato che il suo potere evocativo e la sua musicalità interna. Valdés ha sfidato la retorica a favore del trionfo dell’arte informale, della

Dama a caballo, 2012Bronzo / Bronzecm. 143 x 149 x 42

VelázquezIsabel de Borbónca. 1629

Dama a caballo en azul, 2017Tecnica mista su tavolaMixed media on boardcm. 190 x 190

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sproporzione, senza rinunciare all’equilibrio nel caos. La sua arte è un’estetica del disordine ma nella quale prevale l’armonia di ciò che è stato realizzato bene e dell’archetipo. E il suo linguaggio, la sua poetica della traduzione, è quello delle lingue della musicalità dell’alabastro, dell’alluminio, del bronzo e del legno, e della contestualizzazione della storia dell’arte nella personale partitura della creazione artistica, in questi dipinti e in queste sculture assolutamente originali che vediamo qua a Pietrasanta.

Kosme de Barañano

THE POETICS OF INTERPRETATION: MANOLO VALDÉS

The exhibition in Pietrasanta intends to present together the pictorial works and sculptures of Manolo Valdés as a “whole” that dialogues and is fecundated by creating and with everyday problems, which are iconographic as well as materic. This exhibition is not meant to underline the interest for his sculpture with works of monumental sizes, like those displayed in Place Vendóme in Paris, but it intends to place an accent on how sculpture and painting, from the beginning, have run parallel in the work of the artist.For this exhibition, we have selected several of Valdés’ sculptures and paintings created over the course of the last twenty years (from Desnudos (1994) to the more recent Odaliscas (2017), thanks to which it will be possible to further explore the aesthetics and philosophy of the art of this great artist. The list is long: the large Cabezas (Heads) of women that stand guard at the beginning and at the end of the exhibition, the Caballero (Gentleman) and the Dama a Caballo (Lady on the Horse), both from 2005, that look back on the history of equestrian sculpture begun during the Renaissance with Donatello, and the diverse heads of women in wood painted with a blue epoxy resin, or in bronze that recall the ancient heads from art history, which Manolo Valdés interprets in his own particular way of expression, with his musicality, often in a game of duplication as seen in La Doble Imagen (Double Vision), or with the world of masks, characteristic of African art, which towards the beginning of the 20th C, fecundated the creation of Picasso or Brancusi as in the excellent work, “Máscara” (Mask) in 2017. Valdés has produced one-man shows in every corner of the world. In nearly 30 years of solitary activity, Valdés has received many awards: in 1984 he was given the National Award of Fine Arts in Madrid; in 1985 the National Medal for Fine Arts Painting in Spain; in 1986 he received a medal from the International Biennial Festival of Plastic Arts in Baghdad; in 1993 the Honor from the André Bello Order from the Republic of Venezuela, which

Caballero, 2005Bronzo / Bronzecm. 289 x 246 x 123

Dama, 2005Bronzo / Bronzecm. 270 x 240 x 120

Mascara IV, 2017Bronzo / Bronzecm. 202 x 150 x 96

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the previous year had been bestowed upon the sculptor Eduardo Chillida; in 1999 he was called upon to represent Spain at the 48th Edition of the Biennial of Venice; in 2005 he received the Order of Cultural Merit from the Principality of Monaco and in 2007 he was named Officer of the National Order of Merit in France. The Financial Times critic, Willam Packer, during the presentation of the 48th Biennial of Venice, criticized the British representative, Gary Hume while praising the work of Manolo Valdés, “For Valdés, at 57, also draws upon mass-produced or given references, whether they be a museum carrier-bag or particular works by Picasso and Matisse. But the difference is that they are then worked with an intuitive curiosity both technical and imaginative, so highly-disciplined in the execution yet always leading to the unexpected, the un-previsioned. The massive wooden portrait heads, based upon Picasso’s drawings of his sometime mistress, Francoise Gilot, scoured, polished, incised and inlaid with metal, are for me the biggest and most pleasant surprise of the Biennale”. That same year 1999, at his participation in the collective exhibition, Spanische Kunst am Ende des Jahrhunderts (Spanish Art at the End of the Century), at the Würth Museum of Künzelsau in Germany, the German critic underlined the significance of his sculpture, less well known, because the exhibitions concentrated almost exclusively on his painting, despite the fact that sculpture is primordial in the artist ever since his debut in solitary.Valdés’ sculpture on public display, presented here in Pietrasanta, initiated in 1999 with a project for the city of Bilbao, which over time would expand. In that same period he received a commission for a large scale project on Dama Ibérica (Iberian Woman) to be placed on one of the rotundas in the city of Valencia. The first large model was presented at the beginning of 2002 on Park Avenue in New York. In 2003 the installation of Dama del Manzanares, 13 meters in height (42.6 ft) and weighing 8 tons at Alcobendas in the autonomous community of Madrid. In the city of Valencia in 2007, la Dama Ibérica was installed - 14 meters high (42.9 ft), and made of millions of ceramic tiles; in 2009 in Montecarlo the Reina Marina (Queen Marina) was installed. In that same year, his sculpture was presented at the Royal Château in Chambord (France) and exhibited along Broadway in New York. In 2015, the heads of Valdes were reunited in an incredible exhibition held at the Botanical Garden of New York and in 2016 they were again displayed in the urban piazza par excellence: la

Place Vendôme in Paris. The recent sculpture by Manolo Valdés was produced primarily in editions made of bronze, like the varied series of women’s heads: from Regina (2005) to Irene (2006) and Mariposas (2008), but also unique pieces in wood and iron such as Ariadne and Albertina (2007) or Sienna (2008) or in the 2008 ceramic work (Iris), or in lead like Regina or Lillie (2008), or in works that combine alabaster, wood and metal like Mirta (2009). Many of these experiences of inter-relations between head and hat, like Estella (2008) and Las Mariposas (2009) address a concern not for pedestals, but for head coverings, a concern that we constantly encounter in that book of hours, diagramed by Paul Klee. A simple design dated 1928 (24x30 cm, Catalogue raisonné, vol. 5, n. 4568) by Paul Klee was precisely entitled Der Hut macht’s, or The Hat Does It and continues to do it. The mounting of bronze or iron material through the image of a hat, generates and creates a special dynamic in Valdés’ sculpture. Nonetheless, Valdés has remained faithful to his love for the first material he utilized in sculpting: wood, which is demonstrated not only in the monumental work, Lillie in olive wood from 2016. This attention towards wood in Valdés dates back to 1982 when he utilized pinewood turned on a lathe or when in the same way, turned the marble on a lathe in his still-lifes à la Morandi. Later in 1983 a change from geometric to organic occurred, which coincided with the use of canvas sacks in his painting. Lately, Valdés has used bronze beginning with models worked in styrofoam to which he added waste materials. Valdés knows exactly how to use them just as Picasso knew how to use newspapers during his Cubist phase. Many bronzes were fused beginning with cardboard, or many hats derive from recycled materials, transcending their materiality. Valdés’ aesthetic proposal is not not only one of the most valid proposals in Spain, but with a clear advantage, one of the most original and reflexive voices on the international aesthetics of Art History. In this moment Valdés is the most international living Spanish artist who benefits from extraordinary recognition in the United States. Many of the themes in his work retrace the history of art, from the representation of horses in Chinese sculpture to the images of European art, from the Renaissance to Matisse or Klee and Pop Art…or icons from advertisements on everyday life in America - from the Metropolitan museum bags to the images of the legendary childish Mickey Mouse, or Lichtenstein’s Ragazza con palla (Girl with Ball), transformed into a wooden sculpture.The work of Valdés is in this sense

Dama Iberica,Valencia,Spain,1999

Dama, Park Avenue,New York, 2002

Dama del Manzanares,Alcobendas, Spain, 2003

Reina Mariana, Montecarlo,Monaco, 2009

Chateau Royal de Chambord,France

Broadway, New York, 2009

Botanical Gardens, New York, 2014

Place Vendome, Paris, 2016

Lillie, 2016Legno dipintoPainted woodcm. 165 x 204 x 190

16 17

a kaleidoscope of images from the entire history of mankind, an alliance of civilizations, a significance that Sir Kenneth Clark (1903-1983), British historian of art gave to this concept in his essay entitled Civilisation: A Personal View, dated 1969: “Civilisation is consciously looking forward and back”. Valdés’ work is a continual review of the past and an uninterrupted elaboration of projected towards the future; a mosaic composed of hundreds of fragments, an image that is born from an accumulation of many other images, of sediments from all civilizations and from all ages in time. Valdés creates this mosaic with modern-day techniques, with thick materic plaster, with a subversion of irony and an attentive appreciation for history.In regards to art history, Valdés presents it as reusable territory like a firing range, like a test field, like a dumping ground, like a memo pad. On one hand he gives back details like secrets, on the other hand he awakens in us - strengthened by dimension and weaving, complicity and silence - the immensity and the solitude that history, like a desert of forms, transmits to us.By extracting details and fragments, Valdés creates a new form of aesthetics, a new landscape composed of an enormous frieze of glances. All the previous works of Valdés were based on a sense of paraphrases, of mutations to which he submits the image of others - the translation or interpretation. The work of Valdés focuses on and acquires momentum in the study and consideration of determining details from the history of art or advertising such as in Frasco de Perfume (Perfume Jar, 1994) where he builds his own tessera of aesthetic experiences, driven by the need to review, to continuously reflect upon the images of man, the only animal that leaves behind this type of footprints.In his work Valdés comes close to being an art historian; he is an expert on art history, collecting information, but this action camera that gathers data and drives Valdés is not a mere memorization of other works nor a simple appropriation of patrimony. Through it an image is produced - it’s a raft; or rather a Pyrenean almadía, a riverboat of tree trunks that must be made - and its primordial function is to construct “the stories already painted” through concrete, observable, and perceptible elements. Valdés’ memory collects previous perceptions in order to create his own. For this reason, the oeuvre of Valdes in its complexity, is constructed - and I repeat - like a raft with tree trunks which in turn conform to a new work that glides along the same waters of art history. His memory for details

gives a contemporary form to the great images of the past.Valdés fragments, deconstructs and reconstructs alternatively, without knowing in which order these operations will occur. It’s the same whether it’s done with faces, landscapes, with an anatomical bodies or with still-lifes. Everything about him is an immense reserve of fragments which his hands once again transform into images. In this analytical and baroque accrochage which defines the work by Valdés, the differences between the techniques, rather than disappearing, offer a demonstration of coherence. Between the projected design and the color that causes it to disappear - according to the form of his compositions - the image in the painting appears to have been created from an accumulation of surfaces, from the addition of seams. Meanwhile in his sculpture, the production of an image comes from the hybridization of varying points of view, from an interrelation that has been established (in some cases with Velázquez or Matisse, and in others with a bottle of Chanel or a watch or a simple ice cream), with a previous figure. This now becomes body and life in a different dimension and with a form of language that is something else…that of Valdés.The reproduction of a menina or of an infanta, decontextualized, individualized in its solitude form of wood or bronze, causes the image to lose its value, it ceases to exist and transforms itself into something else. It’s a linguistic operation: the icon loses its value and remains at the mercy of Valdés’ treatment to become a reality, beginning from the torsion that represents detail as unifying and brings with it those references, yet at the same time it brings real life. All considered, Valdés is known for his personal language made of visual references but also of a precise morphology based on texture. This is the result of his use of of specific materials together with the method used to combine them. In his sculptures Valdés utilizes elements of “soldering” - like gum - as a false appearance, in the traditional method of Julio González who uses soldering as an expressive element. This labour of Valdés is perfect, even when it is needed to give an impression of a fracture. In this “impression” of the use of supports, of fracturing the form, of deconstruction, lies the root of his style. Valdés looks to Velasquez with the eyes of Gaugin, as one who looks to reconquer the visual purity, that which is behind the color - the structure. But he looks at it from the front just as the African masks look towards us. African art affected the avant-garde movement from the beginning of the

Reloj II, 1998Tecnica mista su tela di jutaMixed media on burlapcm. 150 x 200

Menina, 2001Bronzo / Bronzecm. 21,8 x 20,3 x 13,2

18 19

20th Century for two aspects: the freedom from figurative precision and the formal emphasis in delimiting and blending of the three dimensions (that which Picasso does in Les demoiselles d’Avignon; the Young Ladies of Avignon). In accentuating the formal and structural aspects without limits of imitating material, the Africans have dominated Abstract art long before the Europeans and Valdés clearly noted this while studying the Velázquez painting. The Dama a caballo (Lady on a Horse) is taken from the portrait Isabel de Borbón (ca. 1629), a painting, according to experts, with limited intervention on the part of Velázquez, perhaps only on the anterior and the head of the horse. But without a shadow of doubt, the image was structured by the artist. This is what Valdés gathers: a structure where the queen and a horse form a unified pose. This is the structure that leaves the canvas, which Valdès causes to precipitate into his formal alchemy, into a creator’s retort as a new entity - sculpture. With this Dama a caballo, Valdés reconverts an equestrian portrait from the 15th C traditions of Donatello and Verrocchio, who in the last centuries had been alienated (to use a Marxist terminology), from the national state military portraits, in a permanent process of annulment. In this Dama a caballo Valdés positions the equestrian portrait into a new set of coordinates of reason and merit. On one hand, in his paintings, he transforms the work of Velázquez into a mask; on the other hand, following the lessons of 1905 avant-garde and with a focus on African art, he goes beyond the image of Velázquez in his sculptures, in a totem, in his fascination for the primitive and in the cardboard pieces that cross the border of time. Valdés absorbs all that he sees and above all, he amuses himself by paraphrasing his maestros, from Velásquez to Picasso, to the African masks. Valdés works like the film producer Martin Scorsese, an artist that has produced remakes of other films, and in whose glance - in many many frames - there is the memory of other film producers and other scenes; a cinema, a com-poser of images in movement, like Valdés. The history of forms is the theme of Valdés, and he realizes it with order, with elegance, with a Baroque sense of form and with that same intensity, but hearty at the same time, with the knowledge of how to write in a musical key and to paint with the wisdom of the avant-garde artists, but putting everything in its place. Valdés work is profoundly reliant on color, on Mediterranean light: primary color, pigmentation as a substance that stains the canvas or burlap sacks,

allowing the light to filter through the material. On Valdés’ part there is a purpose in his work, in his composition, that does not distance itself from the luminous complexities of the bodies, and with no other significance, other than his evocative force and internal musicality. Valdés has defied rhetoric, in favor of a triumph for informal art and disproportionality without foregoing a sense of equilibrium in the midst of chaos. His art is and aesthetic of disorder yet harmony prevails over that which has been created well and over the archetype. His language of expression, his poetics of translation (interpretation) are the tongues of the musicality of the alabaster, of aluminum, of bronze, of wood and of the contextualization of art history in his own music score of creative artistry in these absolutely original paintings and sculptures on exhibit here in Pietrasanta.

Kosme de Barañano

VelázquezIsabel de Borbónca. 1629

Dama a caballo, 2014Alabastro / Albastercm. 83 x 82 x 19

Questo libro documenta l’esposizione di Pietrasanta che ripercorre gran parte della traiettoria in solitario di Manolo Valdés, dagli esordi negli anni ‘80 fi no ai giorni nostri. Dopo le prime opere materiche e le prime sculture che chiedevano di uscire da quei quadri intorno a Velázquez, la mostra si concentra maggiormente su altri sguardi tematici, specialmente degli ultimi dieci anni: i ritratti, le nature morte (i fl aconi di profumo, eccetera), le variazioni su Matisse, le maschere africane, la critica (dal suo interno) della storia dell’arte stessa. L’opera di Valdés è legata profondamente al colore, alla luce del Mediterraneo: il colore primario, il pigmento come sostanza che macchia un pezzo di tela o di sacco facendo sì che dalla materia emani la luce. La pittura come una revisione continua del passato e un’elaborazione ininterrotta di un progetto di futuro: un mosaico che si compone di centinaia di frammenti, un’immagine che nasce dall’accumulazione di tante altre immagini, di sedimenti di tutte le civiltà e di tutti i tempi. Valdés crea questo mosaico con le tecniche dei nostri tempi, con il gesto materico, con il sovvertimento dell’ironia e l’attenzione alla storia. La proposta estetica di Valdés non è soltanto una delle proposte più valide in Spagna, ma anche una delle voci più originali nel panorama internazionale che rifl ette sulla storia dell’arte.

This book documents the exhibition in Pietrasanta which will cover a large part of the solitary pathway followed by Manolo Valdés, begining from his debut in the 1980s up through the present day. After the fi rst materic works and the fi rst sculptures that pleaded to escape from those Velázquez-themed works, the exhibition will primarily concentrate on other themes, particularly those from the last ten years: the portraits, still-lifes, (perfume bottles, etcetera), variations on Matisse, African masks and his deep-rooted criticism of art history itself. The work of Valdés is profoundly bound to color, to Mediterranean light: the primary color, the pigmentation smeared on a piece of the canvas or the burlap sack in such a way that light is emanated from the matter. His painting is a continual review of the past and an uninterrupted elaboration projected towards the future; a mosaic composed of hundreds of fragments, an image that is born from an accumulation of many other images, of sediments from all civilizations and from all ages in time. Valdés creates this mosaic with modern-day techniques, with thick materic plaster, with a subversion of irony and an attentive regard for history. Valdés’ aesthetic proposal is not only one of the most valid in Spain, but is also one of the most original expressions internationally that refl ects on the panorama of art history.

22 23

30 31

La Pamela, 2015Alluminio / Aluminumcm. 386 x 720 x 650

32 33

Clio dorada, 2017 Ottone ed acciaio inossidabile

Brass and Stainless Steel cm. 550 x 1000 x 480

34 35

La doble imagen, 2015Marmo e acciaioMarble and steel

cm. 390 x 1000 x 360

36

Regina II, 2004Bronzo dipintoPainted bronze

cm. 375 x 300 x 275

37

38 39

Irene, 2006Bronzo dipinto / Painted bronze

cm. 388 x 400 x 300

40 41

Mariposas, 2017Alluminio / Aluminumcm. 370 x 900 x 300

42

Caballero, 2005Bronzo / Bronzecm. 289 x 246 x 123

Dama, 2005Bronzo / Bronze

cm. 270 x 240 x 120

44

L’opera di Valdés si incentra e acquisisce dinamicità nella ricerca e considerazione di determinati dettagli della storia dell’arte, con i quali cuce il suo particolare mosaico di esperienze estetiche. Valdés è un artista spinto dalla necessità di rivedere, di ri-fl ettere continuamente sulle immagini dell’uomo, l’unico animale che lascia dietro di sé questo genere di tracce. Per questo la sua opera si basa sul senso della parafrasi, della traduzione, o meglio delle mutazioni a cui Valdés sottomette l’immagine.

The work of Valdés focuses on and acquires momentum in the study and consideration of determining details from the history of art where he sews his own mosaic of aesthetic experiences. Valdés is an artist driven by the need to review, to continuously re-fl ect upon the images of man, the only animal that leaves behind these types of traces. For this reason his works are based on a sense of paraphrasing, of translation (interpretation), or rather of mutations to which Valdés submits the image.

48

Blue head, 2016Legno dipinto / Painted woodcm. 118 x 128 x 60

50

Blue Pamela, 2016Legno dipinto / Painted woodcm. 106 x 132 x 125

52

Blue table, 2016Legno dipinto / Painted woodcm. 159 x 125 x 75

54

Dama a caballo, 2012Bronzo / Bronzecm. 143 x 149 x 42

56

Caballero, 2012Alluminio / Aluminumcm. 157 x 140 x 60

58

Dama a caballo, 2014Alabastro / Alabastercm. 124 x 134 x 33

60

Dama a caballo, 2014 Alabastro / Albastercm. 83 x 82 x 19

Nelle “Cabezas” Valdés trasforma un genere, reifi ca il ritratto. È un’esperienza che inizia nel 1998 e di cui qui presentiamo alcuni esempi. Valdés decontestualizza l’atto del ritratto e lo trasforma in natura morta. Valdés riprende questo mondo della forma pura e trasforma in tema non il ritratto bensì il copricapo: cambia il genere, lo reifi ca in un’icona. La fi lologia plastica di Valdés è un linguaggio fatto di riferimenti visivi ma anche dotato di una morfologia propria basata sulla tessitura. Questa è data dall’utilizzo di determinati materiali e insieme dal modo di combinarli.

In Cabezas Valdés transforms a genre, reifi es portraiture. An experience that began in 1998 and from which we propose several examples. Valdés decontextualizes the act of making a portrait and transforms it into a still-life. Valdés takes this world from its pure form and transforms it into a theme, not a portrait, but rather a headpiece: he changes the genre and reifi es it into an iconic fi gure. Valdés’ philology of plastic art is an expression made of visual references but is also equipped with its own morphology based on woven fabric, resulting from the use of specifi c materials and the method used to combine them.

64

Alambres I, 2016Ferro e acciaio / Iron and steelcm. 128 x 118 x 35 cm

66

Alambres II, 2016Ferro e acciaio / Iron and steelcm. 134 x 80 x 95

68

Head I, 2017Alabastro e ferroAlabaster and ironcm. 150 x 95 x 40

70

Head II, 2017Alabastro e ferroAlabaster and ironcm. 110 x 85 x 30

72

Doble imagen 1, 2017Alluminio / Aluminumcm. 62 x 56 x 46

74

Doble Imagen 2, 2017Alluminio / Aluminumcm. 62 x 56 x 46

76

Doble imagen 3, 2017Alluminio / Aluminumcm. 62 x 44 x 32

78

Máscara IV, 2017Bronzo / Bronzecm. 202 x 150 x 96

80

Azul y blanco, 2016Alabastro e bronzo dipintoAlabaster and painted bronzecm. 42 x 28 x 14

82

Azul y blanco, 2017Alabastro e alluminio dipintoAlabaster and painted aluminumcm. 110 x 81 x 59

Fiore, 2017Alabastro e alluminioAlabaster and aluminumcm. 83 x 167 x 61

84

86

Ivy, 2017Alabastro e alluminioAlabaster and aluminumcm. 91 x 127 x 78

88

Cabeza blanca, 2017Alabastro e alluminioAlabaster and aluminumcm. 95 x 95 x 54

Orchids I, 2017Alabastro e alluminioAlabaster and aluminumcm. 76 x 197 x 45

90

Butterflies, 2017Alabastro e ottone patina dorata 24kAlabaster and 24K gold gilded brasscm. 53 x 106 x 60

92

Butterflies, 2017Alabastro e ferro / Alabster and ironcm. 90 x 270 x 40

94

96

Ivy, 2017Alabastro e ottone patina dorata 24kAlabaster and 24K gold gilded brasscm. 53 x 106 x 60

98

La Pamela, 2017Alabastro / Alabastercm. 105 x 150 x 146

100

La Lectora, 2006Bronzo / Bronzecm. 65 x 49 x 49

Mariposas, 2016Bronzo dipinto / Painted bronzecm. 80 x 200 x 65

102

104

Iris dorada, 2013Ottone patina dorataGold plated brasscm. 46 x 29 x 18

106

Juno, 2017Ottone / Brasscm. 85 x 65 x 42

108

Golden head and blue, 2017Ottone e resinaBrass and resincm. 33 x 55 x 16

110

Irene II, 2017Bronzo dipinto / Painted bronzecm. 75 x 75 x 61

112

Mariposa blanca, 2017Alabastro / Alabastercm. 77 x 55 x 25

La riproduzione di una menina, o di un’infanta, presa da un quadro di Velázquez, decontestualizzata, individualizzata nella sua solitudine di legno o di bronzo, fa sì che l’immagine perda il suo valore, cessi di esistere per trasformarsi in sostanza di qualcos’altro. Si tratta di un’operazione linguistica: l’icona perde il suo valore e rimane alla mercé del trattamento che le dà Valdés come realtà, a partire dalla torsione che rappresenta il dettaglio visto come unità, che porta in sé quei riferimenti ma, al contempo, vita propria.

The reproduction of a menina or of an infanta, taken from a Velázquez painting, decontextualized, individualized in its solitude of wood or bronze, causes the image to lose its value, it ceases to exist and transforms itself into something else. It’s about a linguistic operation: the icon loses its value and remains at the mercy of Valdés’ treatment to become a reality, beginning from the torsion that represents detail and seen as a unit that brings with it those references, yet at the same time it brings life.

116

Degas como pretexto, 1982Legno / Woodcm. 183 x 129 x 78,5

118

Mesa II, 1995Legno / Woodcm. 166 x 178 x 84

120 121

Libreria, 1996Legno / Wood

cm. 255 x 346 x 23

122

Reina Mariana, 2001Legno / Woodcm. 175 x 118 x 80

124

Lillie, 2016Legno dipinto / Painted woodcm. 165 x 204 x 190

Già negli anni ‘80 Valdés fa sì che la Reina Mariana esca dal quadro e acquisti volume. Valdés dell’opera di Velázquez non ci offre solo la sua versione pittorica bensì anche quella scultorea. Valdés vede che nei suoi oli non riesce a catturare tutte le qualità essenziali de Las Meninas, o della fi gura della Reina Mariana, ritratta da Velázquez. Ovvero si rompe l’unità tra l’essenza interna del soggetto e l’immagine esterna dipinta sulla tela, assunta nella tela. La rappresentazione vuole uscire per materializzarsi, trasformarsi in costruzione, per prendere corpo nelle tre dimensioni. Valdés lavora la materia nella pittura; la pittura diventa rilievo e alla fi ne l’immaginario di Valdés vuole diventare fi nalmente scultura.

As early as the 1980s, Valdés makes certain that the Reina Mariana escapes from the painting and acquires volume. Valdés not only offers us his pictorial version of a work by Velázquez, but renders also a sculptural form. Valdés observes that in his oils he is unable to capture all the essential qualities of Las Meninas, or of the fi gure in the Velázquez portrait of the Reina Mariana. That is to say, the unity between the internal essence of the subject is broken and the external image painted on the canvas is then received by the canvas. The representation must leave in order to materialize itself, to transform itself into a construction, becoming a body in all three dimensions. Valdés works on the matter in the painting; the painting becomes a relief and ultimately, Valdés’ imaginary fi nally wishes to become a sculpture.

128

Infanta Margarita, 2005Bronzo / Bronzecm. 205 x 202 x 142

130

Menina, 2001Bronzo / Bronzecm. 21,8 x 20,3 x 13,2

132

Infanta en blanco, 2016Alabastro / Alabastercm. 44 x 26 x 14

“L’arte di ogni epoca ha sempre in sé elementi del passato, l’arte si sussegue sempre, l’arte è un’accumulazione costante. Io non posso concepire un’opera come Matisse come un pretesto senza tempo tra lui e me, senza un cambiamento di scala e di materia, senza un’esperienza. Dipingere è accumulare, sommare, tutto si mescola. Ci sono artisti che pretendono di annullare tutto quello che li precede con la propria opera, ma forse è quello che ci precede ad annullarci, tutto è mescolato, niente annulla niente”.

Manolo Valdés

“Art from every era has always had an element of the past, art always follows a sequence, art is a constant accumulation. I cannot imagine a work like Matisse, as a timeless pretext between him and myself, without a change of dimension, of matter and without any kind of experience. To paint means to accumulate, a summation, all well-blended. There are artists who with their works, pretend to annul all that has preceded them, but perhaps it is exactly that which precedes us that ultimately annuls us…everything is a mixture; nothing annuls nothing”.

Manolo Valdés

136

Infanta Margarita, 1993Tecnica mista su legnoMixed media on woodcm. 150 x 105

138

Perfil con fondo azul, 1994Olio su tela di jutaOil on burlapcm. 193 x 163,5

140

El frasco de perfume sobrefondo amarillo, 1994Tecnica mista su tela di jutaMixed media on burlapcm. 169 x 131

142 143

Reloj II, 1998Tecnica mista su tela di juta

Mixed media on burlapcm. 150 x 200

144

Trébol II, 2009Tecnica mista su tela di jutaMixed media on burlapcm. 232 x 170

146

Dorothy sobre fondo gris, 2010Tecnica mista su tela di jutaMixed media on burlapcm. 240 x 215

148

Retrato con azul y amarillo, 1999Tecnica mista su tela di jutaMixed media on burlap cm. 235 x 161

150 151

Desnudo azul, 1995Tecnica mista su tela di juta

Mixed media on burlapcm. 170 x 228

152 153

Desnudo I, 2005Tecnica mista su tela di jutaMixed media on burlapcm. 151 x 217

154

Retrato en azules, 2017Olio su tela di jutaOil on burlapcm. 235 x 196

156

Retrato en rojo y blanco, 2017Olio e tecnica mista su legnoOil and mixed media on woodcm. 240 x 201

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Dama a caballo en azul, 2017Tecnica mista su tavolaMixed media on boardcm. 190 x 190

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Odalisca, 2017Tecnica mistaMixed media

cm. 232 x 355

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Manolo Valdés nasce a Valencia, Spagna, nel 1942. Apprendista pittore già all’età di quindici anni, frequenta la San Carlos Academy of Fine Arts di Valencia. Nel 1962, partecipa all’Esposizione Nazionale di Belle Arti, presentando l’opera Barca (ora al Museo Nacional Centro de Arte Reina Sofía) nella quale già sono evidenti quelli che saranno gli elementi costanti della sua pittura: il tema figurativo e l’uso informale della materia. Valdés attinge molto dal patrimonio artistico spagnolo, in particolare da Velázquez e Picasso, e dall’informale dei suoi immediati predecessori.Alla fine del 1964, Valdés partecipa alla creazione del gruppo Estampa Popular, collettivo pioneristico di Pop Art spagnola, che si distingue per l’uso di immagini pubblicitarie, i prezzi popolari, l’utilizzo delle incisioni come supporto e una tematica prevalentemente basata sulla vita valenciana. Dopo quattro esposizioni individuali, il gruppo si scioglie. Sempre nel 1964, insieme a Rafael Solbes e Jean A. Toledo, Valdés partecipa al XVI Salone della Giovane Pittura di Parigi, ottenendo un grande successo di critica. Da questo sodalizio nasce il gruppo Equipo Crónica, che si differenzia dal precedente per il prevalente utilizzo della pittura e la scelta di una tematica più ampia, impersonale e fortemente influenzata dal movimento Pop, con uno sguardo critico verso la politica spagnola e la storia dell’arte. Toledo lascia il gruppo molto presto, mentre Valdés e Solbes continuano a lavorare insieme fino alla morte di quest’ultimo nel 1981.Nel 1983, Manolo Valdés ottiene un notevole successo anche nell’ambito della grafica e riceve il Premio Nazionale delle Arti Platiche. Vincitore, tra i tanti, del premio Nacional de Bellas Artes España nel 1985, le sue creazioni sono state oggetto di numerose esibizioni nazionali ed internazionali. Nel 1986, viene invitato a partecipare alla Biennale del Festival Internazionale di Arti Plastiche di Baghdad, dove ottiene la Medaglia d’Oro.A partire dal 1992, l’artista concentra il suo interesse sulla scultura e decide di aprire uno studio più grande a New York. Nel 2000, Valdés ritorna in Spagna e alterna i suoi soggiorni tra New York e Madrid. A Madrid realizza un insieme di sculture per l’Aeroporto Internazionale. Nel 2003 al Museo Guggenheim di Bilbao e nel 2006 al Museo Nazionale Reina Sofía, si tengono due importanti retrospettive, dove vengono riuniti tutti i suoi lavori degli ultimi venticinque anni. Da menzionare sono inoltre le esposizioni al National Art Museum of China Beijing e allo State Russian Museum di San Pietroburgo, oltre che le mostre delle sue sculture monumentali, esposte a Broadway, al Botanical Garden di New York, a Place Vendôme a Parigi e alla Ciutad de las Artes y las Ciencias di Valencia. Nel 2007 è stato inoltre insignito del titolo di Ufficiale dell’Ordine al merito dal Presidente della Repubblica Francese. Le opere di Manolo Valdés si possono trovare in numerose collezioni pubbliche e private, tra cui: Metropolitan Museum of Art (New York), Museum of Modern Art (New York), Musée National d’Art Moderne, Centre George Pompidou (Parigi), Museo Nacional Centro de Arte Reina Sofia (Madrid, Spagna), Fundaciòn del Museo Guggenheim (Bilbao, Spagna), Istituto Valenciano de Arte Moderno, Centre Julio Gonzalez (Valencia, Spagna), Kunsthalle (Kiel, Germania), Kunstmuseum (Berlino, Germania), Veranneman Foundation (Kruishoutem, Belgio), Les Terrasses du Casino (Monte Carlo, Monaco), e molti altri.Dal 2016 collabora con la Galleria d’Arte Contini, che lo rappresenta in esclusiva per l’Italia.Attualmente Manolo Valdés vive e lavora tra Madrid e New York.

BIOGRAFIA

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Manolo Valdes was born in Valencia, Spain, in 1942. At the young age of 15, he was already an apprentice as a painter while enrolled at the San Carlos Academy of Fine Arts in Valencia. In 1962 he participated in the National Exhibition of Fine Arts presenting his work, Barca (now in the permanent collection of the Queen Sofia National Museum of Art), which then contained elements that will later prove to be constant in his style of painting: the use of figurative art and the informal use of matter. Valdés taps on the resources of the historic Spanish patrimony, particularly from Velázquez and Picasso, and from the informal art of his immediate predecessors.At the end of 1964, he participated in the creation of the Estampa Popular, collective artistic group, ground-breakers of Spanish Pop Art, supported by the art critic Tomás Llorens. The Estampa Popular group stands out for the use of advertising images, popular prices, use of engravings as a support and for a theme mainly based on Valencian life. After four solo shows, the group dissolves. In 1964, together with Rafael Solbes and Jean A. Toledo, Valdés participated in the XVI Paris Young Painting Exhibition, gaining success from the critics. Equipo Crónica was born, which differs from the previous group for the prevalent use of painting, for the choice of a broader, impersonal theme and was strongly influenced by the Pop movement, with a critical look towards Spanish politics and art history. Toledo leaves the group soon after their first show, while Valdés and Solbes continue to work together until Solbes’ death, in 1981.In 1983, Manolo Valdés also gained considerable success in the field of graphics and received the National Prize for Plastic Arts. Prizewinner of many awards, amongst which the Spanish National Award of Fine Arts in 1985, his creations have been the subject of numerous national and international exhibitions. In 1986 he was invited to participate in the International Biennial Festival of Plastic Arts in Baghdad where he was awarded the Golden Medallion.Since 1992, the artist has concentrated on sculpture and subsequently, opened a larger studio in New York. In the year 2000, Valdés returns to Spain and alternates his sojourns between New York and Madrid. His last projects include the creation of a sculptures collection for the Madrid International Airport. In 2003 he held an important retrospective exhibition at the Guggenheim in Bilbao, curated by Kosme de Barañano; in 2006 at the Queen Sofía National Museum, where all of his works from the last 25 years were collected.Worth mentioning are also the exhibitions at the National Art Museum in Beijing, China, at the State Russian Museum in St. Petersburg, as well as his monumental sculptures displayed on Broadway, at the Botanical Gardens in New York and Place Vendôme in Paris e alla Ciutad de las Artes y las Ciencias di Valencia. In 2007, the title of Officer of the National Order of Merit was conferred upon him by the President of the French Republic.The works of Manolo Valdés can be found in numerous public and private collections such as: the Metropolitan Museum of Art (New York), the Museum of Modern Art (New York), the George Pompidou Center National Museum of Modern Art (Paris), the Queen Sofía National Museum Center for the Arts (Madrid, Spain), The Guggenheim Foundation (Bilbao, Spain), the Valenciano Institute of Modern Art and the Julio Gonzalez Center (Valencia, Spain), the Kunsthalle (Kiel, Germany), Kunstmuseum (Berlin, Germany), the Veranneman Foundaton (Krisuhoutem, Belgium), The National Art Museum of China (Beijing, China), Les Terrasses du Casino (Monte Carlo) and in many other locations.Since 2016, Valdés has collaborated with the Contini Art Gallery, which represents him exclusively in Italy.Currently Manolo Valdés lives and works in New York and Madrid.

BIOGRAPHY

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1965 Premio Biella, Comune di Biella, Milan, Italy

1979 Silver medal, 2nd International Biennial of Prints, Tokyo, Japan Prize, Bridgestone Museum of Art, Lisbon, Portugal

1985 La Medalla Nacional de Bellas Artes, Government of Spain, Madrid, Spain

1986 Medal of the Biennal, International Festival of the Plastic Arts, Baghdad, Iraq

1993 Condecoración de la Orden de Andrés Bello en la Clase de Banda Honor, Caracas, Venezuela

1997 XXXIIème Prix du Conseil National, La Fondation Prince Pierre de Monaco, Monte Carlo, Monaco

1998 La Medalla de Oro de Mérito en Las Bellas Artes, Ministerio de Cultura de Spain, Madrid, Spain

1999 Representative for Spain, La Esposizione Internacional d’Art, La Biennale di Venezia, Venice, Italy

2000 Premio Asociación Española de Críticos de Arte para Estampa, Asociación Española de Críticos de Arte, Madrid, Spain

Premio Asociación Española de Críticos Críticos de Arte ARCO, Asociación Española de Críticos de Arte, Madrid, Spain

2002 Premio Asociación Española de Críticos de Arte de Estampa, Asociación Española de Criticos de Arte, Madrid, Spain

2004 Premio Valenciano del siglo XXI, Las Provincias, Valencia, Spain

2005 Chevalier de l´Ordre du Mérite Culturel, Ordonnance Souveraine, Monte Carlo, Monaco

2006 Premio Archival Spain 2005, Madrid, Spain Doctor Honoris Causa, University Miguel Hernández, Elche, Spain

2007 Officier de L’Ordre National du Mérite, President of the French Republic, Paris, France

2010 Medalla Internacional de las Artes de la Comunidad de Madrid, Madrid, Spain

PREMI E ONOREFICENZEAWARDS AND HONORS

• Akili Museum of Art, Jakarta, Indonesia

• Arkansas Art Center, Little Rock, Arkansas

• ARTIUM, Centro Museo Vasco de Arte Contemporáneo, Vitoria, Spain

• Ayuntamiento de Alcobendas, Madrid, Spain

• Ayuntamiento de Bilbao, Bilbao, Spain

• Ayuntamiento de Ceutí, Murcia, Spain

• Ayuntamiento de Madrid, Madrid, Spain

• Ayuntamiento de Valencia, Valencia, Spain

• Centre d’Art Contemporain, Istres, France

• Comune di Siena, Siena, Italy

• Comunidad de Madrid, Madrid, Spain

• Congreso de los Diputados, Madrid, Spain

• Diputación Provincial de Valencia, Valencia, Spain

• Fonds National d’Arts Plastiques, Paris, France

• Foundation Veranneman, Kruishoutem, Belgium

• Frac-Collection Aquitaine, Aquitaine, France

• Fundación Juan March, Madrid, Spain

• Fundación Juan March, Palma de Mallorca, Spain

• Gemeinde Museum und Universität, Bremen, Germany

• Instituto Valenciano de Arte Moderno IVAM, Centre Julio Gonzalez, Valencia, Spain

• Hamburger Kunsthalle, Hamburg, Germany

• Hispanic Society of America, New York, New York

• Kansas City Museum, Kansas City, Kansas

• Kemper Museum of Contemporary Art, Kansas City, Missouri

• Konstmuseum, Norrköpings, Sweden

• Kunsthalle zu Kiel, Kiel, Germany

• Kunstmuseum, Berlin, Germany

• Kunstmuseum, Hanover, Germany

• Kunstmuseum Düsseldorf, Düsseldorf, Germany

• Landesmuseen Schloss Gottorf, Schleswig, Germany

• Legion of Honor Museum, San Francisco, California

• Maire de la Ville de Biarritz, Biarritz, France

• Moderna Museet, Stockholm, Sweden

• Musée Cantini, Marseille, France

• Musée de Grenoble, Grenoble, France

• Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France

COLLEZIONI PUBBLICHEPUBLIC COLLECTIONS

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• Musée Picasso, Antibes, France

• Musei Vaticani, Collezione Arte Religiosa Moderna, Vatican City State

• Museo de Albacete, Albacete, Spain

• Museo de Antioquia, Bogotá, Columbia

• Museo de Arte Contemporáneo, Cáceres, Spain

• Museo de Arte Contemporáneo, Sevilla, Spain

• Museo de Arte Contemporáneo Internacional Rufino Tamayo, Mexico City, Mexico

• Museo de Arte Contemporáneo Patio Herreriano, Valladolid, Spain

• Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela

• Museo de Arte Moderno, Medellín, Colombia

• Museo de Bellas Artes, Bilbao, Spain

• Museo de Bellas Artes, Caracas, Venezuela

• Museo de Bellas Artes de Álava, Vitoria, Spain

• Museo de Bellas Artes de Valencia, Valencia, Spain

• Museo de la Asegurada, Alicante, Spain

• Museo de la Solidaridad a Salvador Allende, Santiago, Chile

• Museo Es Baluard, Palma de Mallorca, Spain

• Museo Guggenheim Bilbao, Bilbao, Spain

• Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

• Museo Würth, La Rioja, Agoncillo, Spain

• Museum of Fine Arts, Boston, Massachusetts

• Museum of Fine Arts, Houston, Texas

• Nassau County Museum of Art, Roslyn Harbor, New York

• National Art Museum of China, Beijing, China

• Obra Social Fundación “la Caixa,” Barcelona, Spain

• Patty and Jay Baker Naples Museum of Art, Naples, Florida

• Pinacoteca do Estado, São Paulo, Brazil

• Saastamoinen Foundation, Espoo, Finland

• Espoo Museum of Modern Art, Espoo, Finland

• Senado Español, Madrid, Spain

• The Israel Museum, Jerusalem, Israel

• The Menil Foundation, Houston, Texas

• The Metropolitan Museum of Art, New York, New York

• The Museum of Modern Art, New York, New York

• The Speed Art Museum, Louisville, Kentucky

• The State Russian Museum, St. Petersburg, Russia

• Unión Española de Explosivos, Madrid, Spain

• Universidad Miguel Hernández de Elche, Elche, Spain

• Universidad Politécnica, Valencia, Spain

• Veranneman Foundation, Kruishoutem, Belgium

• Würth Museum, Kunzelsau, Germany

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2018 Manolo Valdés, poetica della traduzione, Piazza Duomo e Complesso di Sant’Agostino - Pietrasanta, Italy in collaborazione con / with the collaboration Galleria d’Arte Contini

Manolo Valdés in Dubai, Dubai, United Arab Emirates

Manolo Valdés in Singapore, Republic of Singapore

2017 Manolo Valdés, I dettagli luminosi, Galleria d’arte Contini, Venice, Italy

2016 Place Vendôme, París, France

Manolo Valdés. Recent Work – Paintings and Sculptures Marlborough London, United Kingdom

Manolo Valdés, Art Stage Singapore, Galerie Forsblom, Singapore

2015 Manolo Valdés: Visitando a los Maestros: Obra Gráfica, Sala Luis María Ansón Roquetas de Mar, Almería, Spain

2014 Manolo Valdés: Obra gráfica, Marlborough Madrid, Madrid, Spain

Pintura - Escultura - Obra sobre papel, Marlborough Barcelona, Barcelona, Spain

2013 Manolo Valdés: Paintings and Sculptures, Pera Museum, Istanbul, Turkey

Manolo Valdés. Obra reciente. Galería Freites, Caracas, Venezuela

Manolo Valdés: Sculptures and Works on Paper, Marlborough Gallery, New York, New York, USA

2012 Manolo Valdés. Fundación Gregorio Prieto, Valdepeñas, Ciudad Real, Spain

Manolo Valdés: Graphic Work. Marlborough Gallery, New York, USA

XXVI Biennale des Antiquaires. Marlborough Gallery New York, Grand Palais, París, France

Manolo Valdés. África and furthers inspirations. Beck & Eggeling Kunstverlag, Düsseldorf, Germany

Remixing History: Manolo Valdés, Georgia Museum of

Art, the University of Georgia, Athens, Georgia (through 2013), USA

Monumental Sculpture, The New York Botanical Gardens, Bronx, New York (through 2013), USA

2011 Manolo Valdés. Oeuvre graphiques, Marlborough Monaco, Monte Carlo, Monaco

Manolo Valdés. El archipiélago de la memoria. Centro de Cultura de Mahón; Sala de Cultura de Ciudadela, Menorca, Islas Baleares, España

Manolo Valdés. Picasso como pretexto, Sala de Exposiciones temporales organized by Fundación Picasso, Museo Casa Nata, Málaga, Spain (through 2012)

Manolo Valdés, Patty and Jay Baker Naples Museum of Art, Naples, Florida, USA (through 2012)

2010 Manolo Valdés. Obra gráfica, Galería Marlborough Madrid, Madrid, Spain

Manolo Valdés: À Chambord, Château du Chambord, Loir-et-Cher, France

Manolo Valdés: Monumental Sculpture on Broadway, Broadway Mall, New York, New York, USA

Manolo Valdés den Haag Sculpture. Lange Voorhout, The Hague, The Netherelands

Manolo Valdés. Marlborough Gallery, New York, Estados Unidos

Manolo Valdés, Marlborough Barcelona, Barcelona, Spain

Manolo Valdés: New Works, Galerie Forsblom, Helsinki, Finland

Manolo Valdés Obra Gráfica, Museo de Arte Español Enrique Larreta, Buenos Aires, Argentina

Manolo Valdés. Obra gráfica, Sala Paraninfo, Universidad de Cantabria, Cantabria, Spain

2009 Manolo Valdés. Escultura y pintura, Galería Marlborough, Madrid, Spain

Manolo Valdés. Escultura Monumental. Fundación La Caixa, Murcia, Málaga, Cáceres, Girona, Santander, Donostia, Caixaforum Madrid, Spain

25 Años. Manolo Valdés. Obra reciente. Pintura y escultura, Galería Benlliure, Valencia, Spain

PRINCIPALI ESPOSIZIONI PERSONALISELECTED SOLO EXHIBITIONS

Graphical. Manolo Valdés, Galería A. M. S. Marlborough, Santiago, Chile

Manolo Valdés. Los materiales Beck & Eggeling Kunstverlag, Düsseldorf, Germany

Galería Freites, Caracas, Venezuela

Manolo Valdés: Sculptures Monumentales à Saint- Tropez, Marlborough Monaco, Monte Carlo, Monaco; traveled to Saint-Tropez, France

Manolo Valdés. Sculptures monumentales. Jardins des Boulingrins, Monte Carlo, Monaco Manolo Valdés. Gráfico, Fundación CIEC, Betanzos, La Coruña, Spain

Manolo Valdés. Peintures et sculptures, Marlborough Monaco, Monte Carlo, Monaco

2008 Manolo Valdés: Recent Sculpture and Painting, Marlborough Chelsea, New York, New York, USA

Manolo Valdés: Las Meninas, The State Russian Museum, St. Petersburg, Russia

Manolo Valdés, Obra gráfica, Castillo Museo Santa Ana, Roquetas de Mar, Almeria, Spain

Manolo Valdés in San Francisco, San Francisco Arts Commission, San Francisco, California, USA

Manolo Valdés: Recent Editions 2000-2008, Marlborough Graphics, New York, New York, USA

Manolo Valdés in Beijing, National Art Museum of China, Beijing, China

Le Portrait de L’Infante y L’Amour Sorcier, Malandain Ballet, Biarritz, France

Galería Aurora, Murcia, Spain

2007 Manolo Valdés. Oeuvre sur papier, Galerie Maeght, Paris, France

Manolo Valdés at Bryant Park, Bryant Park, New York, New York, USA

Equipo Crónica. Crónicas reales, Fundación Juan March, Madrid, Spain; traveled to Museu d’Art Espanyol Contemporani, Palma de Mallorca, Spain; and Museo de Arte Abstracto Español, Cuenca, Spain

Manolo Valdés: New Works, Galerie Forsblom, Helsinki, Finland

Nassau County Museum of Art, Roslyn Harbor, New York, USA

Manolo Valdés: Las Meninas, Park Esplanade, Helsinki, Finland

Manolo Valdés: Perfiles, obra gráfica, Galería Marlborough, Madrid, Spain

Manolo Valdés, Galerie Maeght, Paris, France (through 2008)

Manolo Valdés at Miami Beach, Miami Beach, Florida, USA (through 2008)

2006 Manolo Valdés, Fondation Maeght, Saint-Paul de Vence, France

Manolo Valdés: Sculpture in the Garden, Desert Botanical Gardens, Phoenix, Arizona, USA

Equipo Crónica, 3 Punts, Barcelona, Spain

Manolo Valdés: Bilder-Bronze-Arbeiten Auf Papier, Beck & Eggeling Kunstverlag, Düsseldorf, Germany

Manolo Valdés, 1981-2006, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

Manolo Valdés: Las Meninas in Düsseldorf, Beck & Eggeling Kunstverlag, Düsseldorf, Germany

Les Menines, Musée des Années 30, Boulogne- Billancourt, France

Arte en la Calle, Manolo Valdés: Escultura Monumental, organized by Obra Social Fundación “la Caixa,” Barcelona, Spain; traveled throughout Spain to Valladolid, Córdoba, Valencia, Palma de Mallorca, Sevilla, Bilbao, Burgos, Barcelona, Zaragoza, Almería, Logroño, Salamanca, La Coruña,

Murcia, Málaga, Cáceres, Girona, Santander, San Sebastian and Madrid, Spain (through 2009)

2005 Manolo Valdés, Obra gráfica, Galería Estiarte, Madrid, Spain

Valdés, Museum Beelden aan Zee, The Hague, the Netherlands

Valdés, Palazzo Magnani, Reggio Emilia, Italy; exhibition traveled to Palazzo del Governo, Siena, Italy; and Fundación Caixa Girona, Girona, Spain

Manolo Valdés, Marlborough Fine Art, London, England

Manolo Valdés, Château de Chenonceau, Chenonceaux, France

Les Menines de Valdés, Jardins du Palais Royal, Paris, France; traveled to Pelikan Plaz, Zürich, Switzerland; and Palacio Príncipe, Oviedo, Spain

Manolo Valdés, Galería d’Art Arcadi Calzada, Olot, Gerona, Spain

2004 Manolo Valdés, Escultura monumental, Galería Marlborough, Madrid, Spain

Nuevos grabados, Galería Tiempos Modernos, Madrid, Spain

Manolo Valdés: Peintures et sculptures, Marlborough Monaco, Monte Carlo, Monaco

Galería La Aurora, Murcia, Spain

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Beck & Eggeling Kunstverlag, Düsseldorf, Germany

2003 Manolo Valdés, Obra Gráfica, Galería Estiarte, Madrid, Spain

Manolo Valdés, Galerie Forsblom, Helsinki, Finland

Manolo Valdés, Galerie Sonia Zannettacci, Geneva, Switzerland

Manolo Valdés, The Butler Institute of American Art, Youngstown, Ohi, USA

2002 National Museum, Damascus, Syria

La Dama at Park Avenue and 57th, Park Avenue Malls, New York

Manolo Valdés. Obra Gráfica, 1981-2002, Centro Cultural Casa de Vacas (Parque del Buen Retiro), Madrid, Spain

Manolo Valdés: Dibujos, Fundación BBK, Bilbao, Spain; traveled to Museo Gustavo de Maeztu, Estella, Spain; and Museo Nicanor Piñolé, Gijon, Spain

Stiftung Schleswig–Holsteinische Landesmuseen Schloss Gottorf, Schleswig, Germany

The Jordan National Gallery, Ammán, Jordan

Instituto Cervantes de Beirut, Beirut, Lebanon

Santral Istanbul, Bilgi University, Istanbul, Turkey

Instituto Cervantes de Tánger, Tangier, Morocco

Dar Sanaa, Escuela de Artes y Oficios, Tetuan, Morocco

Graphic Works, Galleria Il Gabbiano, Rome, Italy

Sculptures, Marlborough Gallery, New York, New York, USA

Manolo Valdés. Pintura y Escultura, Museo Guggenheim, Bilbao, Spain

Manolo Valdés: Graphic Works, Centro Portugal de Serigrafía, Lisbon, Portugal

Manolo Valdés, Kurt Art Gallery, San Sebastián, Guipúzcoa, Spain

Esculturas, Galería Marlborough, Madrid, Spain

2001 Los géneros. Retratos, bodegones y paisajes, Palacio de Congresos y Exposiciones of Castilla y León, Salamanca, Spain (sponsored by Fundación Cristóbal Gabarrón, Valladolid, Spain)

Manolo Valdés. Obras recientes, Gallery Marlborough, Madrid, Spain

Galería Montcada, Barcelona, Spain

Galería Zaragoza Gráfica, Zaragoza, Spain

Galería Durero, Gijón, Spain

Galería Eude, Barcelona, Spain

Graphic Works, Bob Stein Gallery, Saint Louis, Missouri

Galerie Art of this Century, Paris, France

Galerie Patrice Trigano, Paris, France

Manolo Valdés Como Pretexto. Bilder, Skulpturen, Arbeiten auf Papier, Beck & Eggeling Kunstverlag, Düsseldorf, Germany

Serie de la Reina Mariana, Tiempos Modernos, Madrid, Spain

Obra gráfica, Galería Juan Manuel Lumbreras, Bilbao, Spain

2000 Manolo Valdés: 1990-1999, Sala Quatre Cantons, Vilafamés, Spain; traveled to

Centre Municipal de Cultura, Castelló, Spain

Manolo Valdés: New Etchings, Marlborough Graphics, New York, New York, USA

Manolo Valdés. Pintura, escultura y grabado, Bilbao Arte, Bilbao, Spain

Las Meninas, Peggy Guggenheim Collection, Palazzo Venier dei Leoni, Venice, Italy

Gallery Espacio, San Salvador, El Salvador

Las Meninas, Gallery Estiarte, Madrid, Spain

Manolo Valdés, Sala de Exposiciones Sa Llonja, Palma de Mallorca, Mallorca, Spain

Gallery Heller, Madrid, Spain

1999 Campbell-Thiebaud Gallery, San Francisco, California, USA

Patio de la Mairie d’Anglet, Musée National d’Art Moderne, Centre

Georges Pompidou, Paris, France

Gallery A.M.S. Marlborough, Santiago, Chile

Museo de Arte Moderno “Aloisio Magalhaes,” Recife, Brazil

Sala de Exposiciones San Esteban, Murcia, Spain

Gallery La Aurora, Murcia, Spain

1998 Manolo Valdés: Recent Work, Marlborough Gallery, New York, USA; traveled to Gallery Marlborough, Madrid, Spain

Galerie Marwan Hoss, Paris, France

Manolo Valdés in Cardiff: Works from the Guillermo Caballero de Luján

Collection, Cardiff Central Library, Cardiff, Wales

Museo Nacional de Artes Visuales, Montevideo,

Uruguay

Gallery Durero, Gijón, Asturias, Spain

Gallery La Aurora, Murcia, Spain

Gallery Rosalía Sender, Valencia, Spain

Sala Nacional de Exposiciones, San Salvador, El Salvador

Gallery Pedro Torres, Logroño, Spain

Sala García Castañón de Caja Pamplona, Pamplona, Spain

1997 Centre Cultural Contemporani Pelaires, Palma de Mallorca, Spain

Museo Rufino Tamayo, Mexico City, Mexico

Museo de Monterrey, Monterrey, Mexico

Pinacoteca do Estado, São Paulo, Brazil

Museo Nacional de Bellas Artes, Buenos Aires, Argentina

Gallery Freites, Caracas, Venezuela

Gallery Maeght, Barcelona, Spain

Gallery Tiempos Modernos, Madrid, Spain

Gallery Bennassar, Palma de Mallorca, Spain

Centre d’Art Contemporain, Istres, France

Manolo Valdés: Graphic Works, Gallery Marlborough, Madrid, Spain

1996 Campbell-Thiebaud Gallery, San Francisco, California, USA

Gallery Palatina, Buenos Aires, Argentina

Cynthia Bourne Gallery, London, England

Galerie Sonia Zannettacci, Geneva, Switzerland

Instituto Valenciano de Arte Moderno IVAM, Centre Julio González, Valencia, Spain

Gallery Mario Sequeira, Braga, Portugal

1995 Galleria Il Gabbiano, Rome, Italy

Gallery Colón XVI, Bilbao, Spain

Gallery 11, Alicante, Spain

Gallery La Aurora, Murcia, Spain

Gallery Varrón, Salamanca, Spain

Gallery Torres, Bilbao, Spain

Gallery Marlborough, Madrid, Spain

1994 Marlborough Gallery, New York, USA

Veranneman Foundation, Kruishoutem, Belgium

1993 Palacio Almudí, Murcia, Spain

Gallery Freites, Caracas, Venezuela

Gallery Marlborough, Madrid, Spain

Sala Amós Salvador, Logroño, Spain

1992 Gallery Fandos, Valencia, Spain

Galerie Sonia Zannettacci, Geneva, Switzerland

Gallery Trama, Barcelona, Spain

1991 Marlborough Gallery, New York, USA

Gallery Guereta, Madrid, Spain

Gallery Fandos, Valencia, Spain

1990 Gallery Fandos y Leonarte, Valencia, Spain

Palacio Almudí, Murcia, Spain

Colegio de Arquitectos, Tenerife, Spain

Palacio Condes de Gaira, Granada, Spain

Caja de Ahorros, Burgos, Spain

Cultural Rioja, Logroño, Spain

Gallery Freites, Caracas, Venezuela

1989 Gallery Fandos y Leonarte, Valencia, Spain

Equipo Crónica 1965-1981, Instituto Valenciano de Arte Moderno IVAM,Centro Julio González, Valencia, Spain; traveled to Centro de Cultura Contemporánea de la Casa de la Caridad,Barcelona, Spain; and MuseoNacional Centro de Arte Reina Sofía, Madrid, Spain

Gallery Soledad Lorenzo, Madrid, Spain

Gallery Maeght, Barcelona, Spain

Gallery Sen, Madrid, Spain

Museo de Bellas Artes de Oviedo, Oviedo, Spain

Galerie Sonia Zannettacci, Geneva, Switzerland

1988 Gallery Maeght, Barcelona, Spain

Gallery Freites, Caracas, Venezuela

Galerie Adrien Maeght, Paris, France

Museo de Bellas Artes, Bilbao, Spain

Gallery El Coleccionista, Madrid, Spain

Gallery Luis Adelantado, Valencia, Spain

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Colegio Pío XII, Valencia, Spain

Gallery Atenas, Zaragoza, Spain

1971 Galerie Klang, Cologne, Germany

Galerie Poll, Berlin, Germany

Collegi d’Arquitectes, Barcelona, Spain

1970 Sala Honda, Cuenca, Spain

Gallery Val i 30, Valencia, Spain

1969 Gallery Cultart, Madrid, Spain

Gallery Grises, Bilbao, Spain

1968 Galleria l’Agrifolio, Milan, Italy

Gallery Val i 30, Valencia, Spain

Galleria Il Girasole, Rome, Italy

1967 Gallery Val i 30, Valencia, Spain

Gallery Barandiarán, San Sebastian, Spain

Sala Aixelà, Barcelona, Spain

1966 Sala Comunale, Ferrara, Italy

Sala Miqueldi, Bilbao, Spain

Gallery La Pasarela, Seville, Spain

1965 Galleria Il Centro, Turin, Italy

Sala Comunale, Reggio Emilia, Italy

Château de Tarascon, Tarascon, France

1987 Gallery Yerba, Murcia, Spain

Chicago International Art Exhibition, Chicago, Illinois, USA

Gallery 4, Valencia, Spain

Gallery Val i 30, Valencia, Spain

1986 Galerie Adrien Maeght, Paris, France

Gallery Parpalló, Valencia, Spain

1985 Kunsthalle Wilhelmshaven, Wilhelmshaven, Germany

Gallery Sen, Madrid, Spain

Gallery Roma y Pavía, Porto, Portugal

Gallery del Palau, Valencia, Spain

Gallery Maeght, Barcelona, Spain

1984 Galerie Poll, Berlin, Germany

Gallery Sa Pleta Freda, Mallorca, Spain

Gesellschaft für Aktuelle Kunst, Bremen, Germany

1983 Gallery del Palau, Valencia, Spain

1982 Gallery Val i 30, Valencia, Spain

Gallery Punto, Valencia, Spain

Gallery 4, Valencia, Spain

Gallery Maeght, Barcelona, Spain

1981 Kunsthalle Bremen, Bremen, Germany

Galerie Bonn, Bonn, Germany

Gallery Maeght, Barcelona, Spain

Sala de la Biblioteca Nacional, Madrid, Spain

1980 Gallery Yerba, Murcia, Spain

Galerie Poll, Berlin, Germany

Galerie Jürgen Schweinbraden, Berlin, Germany

1979 Gallery Juana de Aizpúru, Seville, Spain

Caixa d’Estalvis, Mataró, Spain

Galerie Maeght, Zürich, Switzerland

Gallery Juana Mordó, Madrid, Spain

1978 Gallery Maeght, Barcelona, Spain

Musée de Rochefort, Rochefort, Belgium

Sala Luzán, Zaragoza, Spain

Gallery Val i 30, Valencia, Spain

Gallery Cadaqués, Cadaqués, Spain

Galerie Maeght, Zürich, Switzerland

Gallery Punto, Valencia, Spain

Gallery Yerba, Murcia, Spain

1977 Galerie Flinker, Paris, France

Frankfurter Kunstverein, Frankfurt, Germany

Badischer Kunstverein, Karlsruhe, Germany

Kunstverein, Hannover, Germany

Galerie Poll, Berlin, Germany

Centro de Arte Contemporáneo, Porto, Portugal

1976 Gallery 42, Barcelona, Spain

Gallery Juana Mordó, Madrid, Spain

1975 Centro M-11, Seville, Spain

1974 Kunststichting Lijnbaancentrum, Rotterdam, Netherlands

Sala Juan XXIII, Córdoba, Spain

Gallery Val i 30, Valencia, Spain

Musée d’Art Moderne de la Ville de Paris, ARC, Paris, France

Galleria d’Arte Cavour, Milan, Italy

Maison de la Culture, Saint-Étienne, France

Maison de la Culture, Reims, France

Musée d’Art Moderne, Pau, France

Galerie du Fleuve, Bordeaux, France

1973 Gallery René Metrás, Barcelona, Spain

Arte Contacto, Caracas, Venezuela

Galerie Stadler, Paris, France

Llotja del Tint, Banyoles, Spain

1972 Gallery Juana Mordó, Madrid, Spain

Gallery Val i 30, Valencia, Spain

Casa del Siglo XV, Segovia, Spain

Gallery Tassili, Oviedo, Asturias, Spain

Stefano Contini - Manolo Valdés

Manolo Valdés, Kosme de Barañano, Stefano Contini

Rosa e Manolo Valdès, Kosme de Barañano, Stefano, Riccarda, Leonardo Contini

Riccarda e Stefano Contini, Kosme de Barañano

176 177

2017 Contini Art Gallery, ArteFiera Bologna, Italy

Contini Art Gallery, MiArt, Milano, Italy

TEFAF. Beck & Eggeling, Maastricht, Netherlands

Armory. Marlborough Gallery, New York, USA

ARCO. Marlborough Gallery, Madrid, Spain

Art Genève. Marlborough Gallery, Genève, Switzerland

2016 Equipo Crónica, Centro Cultural Bancaja, Fundació Bancaixa, Valencia, Spain

Toros en la pared. MUVIM (Museo Valenciano de la Ilustración y la Modernidad), Valencia.

Summer Group Exhibition. Marlborough Gallery, New York, USA

A Summer Exhibition. Marlborough Fine Art, London, United Kingdom

Art Salzburg. Kuntsalon, Beck & Eggeling, Salzburg, Austria

Art Genevé 2016. Marlborough Gallery, Genèva, Switzerland

ARCO ‘16. Marlborough Gallery, Madrid, Spain

Reflejos del Pop. Museo Carmen Thyssen, Málaga, Spain

Art Basel, Marlborough Fine Art London, Hong Kong, China

TEFAF, Marlborough Fine Art London, Maastricht, Netherlands

Art Central Hong Kong. Galerie Forsblom, Hong Kong

2015 Summer Group Exhibition, Marlborough Gallery, New York, USA

ARCO ‘15. Marlborough Gallery, Madrid, Spain

Art Basel, Marlborough Fine Art London, Hong Kong, China

TEFAF, Marlborough Fine Art London, Maastricht, Netherlands

Art Basel, Marlborough Fine Art London, Basel, Switzerland

De luces mixtas 2015. Marlborough Gallery, Madrid, Spain

2014 Summer Group Exhibition, Marlborough Gallery, New York, USA

De Luces Mixtas 2014. Marlborough Gallery, Madrid, Spain

TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands

Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland

ARCO ‘14. Marlborough Gallery, Madrid, Spain

2013 Fernando Botero, Richard Estes, Manolo Valdés: Pinturas y Esculturas, Marlborough

Gallery Monaco, Monte Carlo, Monaco

TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands

Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland

ARCO ‘13. Marlborough Gallery, Madrid, Spain

De Luces Mixtas 2013. Marlborough Gallery, Madrid, Spain

2012 ARCO ‘12. Marlborough Gallery New York, Madrid, Spain

Le Cabinet de Curiosités, Marlborough Gallery and Steinitz Gallery at 6 Harrison Street, New York, USA

Art Stage, Marlborough Fine Art (London) Ltd., Singapore

TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands

Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland

De Luces Mixtas 2012. Marlborough Gallery, Madrid, Spain

Summer Group Exhibition, Marlborough Gallery, New York, USA

2011 ARCO ‘11. Marlborough Gallery New York, Madrid, Spain

The Armory Show ‘11. Marlborough Gallery, New York, USA

Pasajes del cuerpo contemporáneo. Colleccion

PRINCIPALI COLLETTIVESELECTED COLLECTIVE EXHIBITIONS

Muram. Museo Regional de Arte Moderno, Cartagena, Murcia, Spain

De Goya a nuestos días. Colección Ibercaja. Patio de la Infanta, Zaragoza; Museo Diocesano, Barcelona, Spain

Summer Show. Marlborough Gallery Barcelona, Barcelona, Spain

De luces mixtas. Marlborough Gallery ,Madrid, Spain

Art Stage, Marlborough Fine Art (London) Ltd., Singapore

TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands

Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland

Exposition de groupe. Marlborough Monaco, Monaco

ESTAMPA ’11. Marlborough Gallery New York, Madrid, Spain

Colectiva de Obra Gráfica. Marlborough Gallery Madrid, Spain

2010 Look again. Marlborough Chelsey, New York, USA

Art Bolonia. Beck & Eggeling Internacional Fine Art, Bologna, Italy

ARCO ‘10. Marlborough Gallery New York, Madrid, Spain

Arte Español en la Colección del IVAM. Museum of urbanism, Shanghai, China

Anniversaire dix ans de la Galerie, 2000-2010. Marlborough Monaco, Monaco

Nolde Stiftung Seebül, Dependance Berlin, Berlin, Germany

Equipo Crónica y otros coetáneos del Pop Art español. Centro Cultural Bancaja, Alicante, Spain

TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands

Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland

La imatge actual dels Borja. Sala Coll Alas de la Escuela Pía, Gandía, Valencia, Spain

ESTAMPA ’10. Marlborough Gallery New York, Madrid, Spain

Beyond Limits. Chatsworth, Bakewell, Derbyshire, UK

Aniversario. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Sulpture. Twelve Independent Visions. Marlborough Chelsea, New York, USA

Marlborough: de 1946 a 2011. Galería Marlborough Barcelona, Barcelona

Escultura. Galería Marlborough Madrid, Madrid, Spain

2009 Colectiva de Invierno. Galería Marlborough Madrid, Madrid, Spain

ARCO ‘09. Marlborough Gallery New York, Madrid, Spain

La escultura en la colección del IVAM. IVAM, Valencia, Spain

Paintings +Sculpture. Marlborough Gallery, New York, USA

TEFAF Maastricht. Beck & Eggeling Internacional Fine Art, Netherlands

TEFAF Maastricht. Marlborough Fine Art London, Netherlands

The Armory Show. New York, USA

El jardín secreto. Group Show. Marlborough Barcelona, Barcelona, Spain

Art Cologne. Beck & Eggeling Internacional Fine Art, Colonia, Germany

Hong Kong Art Fair. Beck & Eggeling Internacional Fine Art; Galerie Forsblom, Hong Kong, China

Beyond Limits, Chatsworth House, Derbyshire, England

Works on Paper, Marlborough Gallery, New York, USA

TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands

Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland

Summer Exhibition. Marlborough Chelsea, New York, USA

Meninas-versus. Diez años después. Gallery Mácula. Santa Cruz de Tenerife, Islas Canarias, Spain

Summer Show. Galería Marlborough Madrid, Madrid, Spain

El espejo que huye. Palacio de Revillagigedo, Gijón, Spain

Encuentros de Pamplona 72: Fin de fiesta del arte experimental. MNCARS, Madrid, Spain

Art Basel Miami. Marlborough Gallery, New York, USA

2008 Don Juan. Galería Ekain Arte Lanak, San Sebastian, Guipúzcoa, Spain

Museo Picasso Barcelona, Barcelona, Spain

ARCO ‘08. Marlborough Gallery New York, Madrid, Spain

Figura Humana y Abstracción. Museo Würth, La Rioja, Spain

178 179

TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands

Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland

Spain. 1957.2007. Palazzo Sant’Elia, Palermo, Italy

Figuración narrativa, Paris 1960-1972. Gran Palais, País, Francia. Itinerante al IVAM, Valencia, Spain

Summer Show. Galería Marlborough Madrid, Madrid, Spain

Summer Exhibition, Marlborough Gallery, New York, USA

Summer Exhibition, Marlborough Chelsea, New York, USA

Group Show, Marlborough Monaco, Monte Carlo, Monaco

Obra Gráfica 10 de El País. Galería Marlborough Madrid, Marlborough Gallery, Barcelona, Spain

2007 Akili Museum of Art, Yakarta, Indonesia

ARCO ‘07. Marlborough Gallery New York, Madrid, Spain

La palabra imaginada. Museo Esteban Vicente, Segovia, Spain

Salon de L’Estampe. Galerie Maeght, Grand Palais, Paris, France

Art Cologne. Beck & Eggeling, Dusseldorf, Germany

Art Madrid. Madrid, Spain

Maastricht Art Fair, Beck & Eggeling, Dusseldorf, Germany

CIGE Beijing Art Fair. Pekín, China

Summer Show. Galería Marlborough, Madrid, Spain

Summer Exhibition. Marlborough Gallery, New York, USA

Aena. Colección de Arte Contemporáneo. Madrid, Spain

Shanghai Fine Jewellery and Art Fair, Shanghai, China

Painting and Sculpture, Marlborough Gallery, New York, USA

Galería D’Art Manel Mayoral. October, November and December, Barcelona, Spain

Art Basel Miami. Marlborough Gallery, New York, USA

Ink Miami 2007. Galería Marlborough, Miami, USA

2006 Sculpture. Marlborough Gallery, New York, USA

ARCO ‘06. Marlborough Gallery New York, Madrid, Spain

ARCO ‘06. Galerie Forsblom, Helsinki, Finland

Musiques. Art Paris. Galerie Sonia Zanetacci, Paris, France

TEFAF Maastricht. Feria Internacional de Arte y Antigüedades, Beck and Eggeling y Marlborough Fine Art, Netherlands

Art Cologne. Beck & Eggeling, Dusseldorf, Germany; Marlborough Gallery, New York, USA

Aena Colección de Arte Contemporáneo. Forum Barcelona, Barcelona, Spain

Artfiera Bolonia. Galerie Forsblom, Helsinki, Finland

Arte español del s. XX. Colección BBVA, Madrid, Spain

Crónicas de papel. IVAM, Valencia, Spain

CIGE Beijing Art Fair. Pekín, China

Obra gráfica original. Vic, Barcelona, Spain

Homenaje a Chillida. Guggenheim, Bilbao, Spain

Sobre el Humor, Galería Marlborough, Madrid, Spain

El cincel y la palabra. Fundación KUTXA, Sala Kubo, Kuursal, San Sebastián, Spain

Pintura, escultura y gráfica. Galería Marlborough, Madrid, Spain

ESTAMPA 2006. Madrid, Spain

2005 ARCO ‘05. Marlborough Gallery New York, Madrid, Spain

TEFAF Maastricht. Feria Internacional de Arte y Antigüedades, Beck and Eggeling y Marlborough Fine Art, The Netherlands

Art Cologne. Beck & Eggeling, Dusseldorf, Marlborough Gallery, New York, USA

Muestra de Escultura Pública: Artista españoles Contemporáneos. Consellería de Cultura de las Islas Baleares, Palma de Mallorca, Spain

Ediciones. Galeria Clave, Murcia, Spain

Galería Dieciséis, San Sebastián, Spain

Escultura y Paisaje. Palacio de Bendinat, Palma de Mallorca, Spain

Picasso to Plensa: A Century of Art from Spain. Alburquerque Museum, USA.

El Equipo Crónica en la colección del Ivam. Valencia, Spain; Exposición itinerante: Museo Nacional de Artes Visuales, Montevideo, Uruguay; Museo del Barro, Asunción, Paraguay; Centro Cultural Recoleta, Buenos Aires, Argentina; Centro Cultural Parque de Spain, Rosario, Argentin

The Moscow World Fine Art Fair. Moscu, Russia

Art Basel Miami. Marlborough Gallery, New York, USA

2004 ARCO ’04. Marlborough Gallery New York, Madrid, Spain

Fragmentos. Arte del XX al XXI. Colección de Pilar Citoler, Centro Cultural de la Villa, Madrid, Spain

Contraparada, Palacio de Almudí, Murcia, Spain

El siglo XX en la Casa del Siglo XV. Museo Esteban

Vicente, Segovia, Spain

Sculptures Monumentales à Saint-Tropez. La Citadelle, Saint-Tropez, France

Colección Aena de Arte Contemporáneo. Museo de Navarra, Pamplona, Spain

Sculpture Espagnole a Bordeux, Festival des Jardins 2004. Burdeos, France

Festival International de Sculpture de Monte-Carlo. Monte-Carlo, Monaco

Los años jóvenes: 1960 – 1970. Itinerante: Lonja del Pescado y Sala CAM, Alicante; Casal Solleric, Palma de Mallorca; Centro de Arte Palacio deAlmudí, Murcia, Museo del XIX, Valencia, Sala CAM, Elche; Sala CAM, Alcoy, Spain

25 años de arte y la Constitución. Lonja del pescado de Alicante, Alicante, Spain

De pictura. Círculo de Bellas Artes, Madrid, Spain

El Pop español. Los años sesenta. El tiempo reencotrado. Museo de Arte Contemporáneo Esteban Vicente, Segovia, Spain

New York, Marlborough Madrid, Spain

Colectiva pintores valencianos. Galería Nadir, Madrid, Spain

Estampa 2004. Madrid, Spain

Feria de Arte de Köln, Colonia, Germany

New York, New York. Centro CajaGranada, Granada, Spain

2003 ARCO ’03. Marlborough Gallery New York, Madrid, Spain

ARCO ’03. Madrid, Stand El País, Spain

Art Espagnol Contemporain, Marlborough Monaco, Monaco

+- 25 años de arte en Spain. Creación en libertad. MUVIM y Ataranzas, Valencia, Spain

El arte español del siglo XX. Museo del Corso, Roma, Italy

Art Chicago 2003. Marlborough Gallery, New York, USA

TEFAF Maastricht. Feria Internacional de Arte y Antigüedades, Netherlands

La Fête. Espace Bellevue, Biarritz, Francia. Itinerante: Museo Valenciano de la Ilustración y la Modernidad. Valencia, Spain

Espacios y modos. Más allá de los límites. Edificio Miller, Parque de Santa Catalina, Las Palmas de Gran Canaria, Spain

Isocronías. Alternativas en la III Trienal de Arte Gráfico. Calcografía Nacional de la Real Academia de Bellas Artes de San Fernando, Madrid, Spain

Portadas de Ababol. Palacio Aguirre de Cartagena

Fashion Art. Museo Nacional de Bellas Artes de Buenos Aires, Argentina

Inauguración de la Galería Alfonso XIII, Príncipe de Vergara, 203, Spain

Las Bellas Artes del siglo XX. Valencia 1940-1980. Salas de las Atarazanas, Valencia, Spain

Museo de Museos. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Palabras pintadas... Instituto Cervantes de Berlín, itinerante al Instituto Cervantes de New York, USA

2002 Otras meninas. Fundación Telefónica, Madrid, Spain

Figuras. Galería Mario Sequeira, Braga, Portugal

ARCO ’02. Marlborough Gallery New York, Madrid, Spain

FIA’02 Art Fair, Gallery Freites, Caracas, Venezuela

Art Miami ’02. Galería Freites, Miami, Florida, USA

Armory Show. New York. Art of this Century, USA

Art Brusels. Bruselas. Art of this Century, Belgium

Art Chicago 2002. Marlborough Gallery, New York, USA

San Francisco International Art Exposition. Marlborough Gallery, New York, USA

Summer Show. Marlborough Gallery, New York, USA

Art Basel. Marlborough Gallery, New York, USA

Galería Ekaín Arte Lanak, San Sebastián, Guipúzcoa, Spain

International Fine Print Dealers Association, Marlborough Graphics, New York, USA

Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA

50 Años de Pintura Española: del Informalismo a la Libertad. Centro de Exposiciones de Benalmádena, Málaga, Spain

Qué trata de España. Academia de España en Roma, Roma, Italia

De la postguerra al cambio de milenio. Sala de Exposiciones de la Politécnica de Valencia, Spain

Los años jóvenes: 1960 – 1970. Itinerante: Lonja del Pescado y Sala CAM, Alicante; Casal Solleric, Palma de Mallorca; Centro de Arte Palacio deAlmudí, Murcia, Museo del XIX, Valencia, Sala CAM, Elche; Sala CAM, Alcoy, Spain

Europe’s Image, Myth & Reality. Den Haag Sculptuur, La Haya, Netherlands

Les jeux dans l’art du XXème Siecle. Biarritz, Espace Bellevue, Francia. Itinerante: La Lonja – Palacio de Montemuzo, Zaragoza, Spain

180 181

Sculpture Espagnole.Galería Marlborough Monaco, Monaco

Miradas Distintas, Distintas Miradas. Paisaje Valenciano en el Siglo XX. Museo del Siglo XIX de Valencia, Spain, Itinerante:

Museo Gravina de Alicante , Spain (2003)

El siglo de Picasso. El arte español del siglo XX. Galería Nacional, Atenas. Itinerante a: Museo Nacional Reina Sofía, Madrid, Spain

Estampa, Madrid, Auriga Edicions, Spain

Galería Ármaga, León, Spain

III Trienal de Arte Gráfico. La estampa contemporánea. Centro Cultural CajAstur, Palacio Revillagigedo (octubre-enero,2003), itinerante aMuseo de la Ciudad y Calcografía Nacional, Madrid, Spain

2001 FIAC, Paris. Art of this Century, Paris, France

Estampa. Madrid. Auriga Edicions, Spain

Galería Ekaín Arte Lanak, San Sebastián, Guipúzcoa, Spain

ARCO ’01. Madrid, Marlborough Gallery, Madrid; Art of this Century, Paris, France

FIA’01 Art Fair. Galería Freites, Caracas, Marlborough Gallery, New York, USA

Art Miami ’01. Galería Freites, Miami, Florida, USA

Art Basel. Basilea. Art of this Century, Switzerland

Art Brusels. Bruselas. Art of this Century, Belgium

Baltimore Print Fair. Baltimore Museum of Art, Marlborough Graphics, New York, USA

Art Chicago 2001. Marlborough Gallery, New York, USA

Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA

Pop Impressions. Europe / USA. Saint Louis Art Museum, St. Louis, USA

Galería Art of this Century, New York, USA

Art Miami. Marlborough Gallery, New York, USA

TEFAF Maastricht. Feria Internacional de Arte y Antigüedades, The Netherlands

San Francisco International Art Fair. Marlborough Gallery, New York, USA

Bienal de Valencia. Valencia, Spain

Relevos: Valdés-Mascaró. Torre Caja Madrid. Obra Social Caja de Madrid, Madrid, Spain

Figuras. Visiones del Arte Contemporáneo. Centro Cultural Puerta Real, Granada, Spain

Un recorrido por el Arte Español del siglo XX. Alcalá

Subastas, Madrid

Cinquante ans de sculpture espagnole. Palais Royal, Paris, France

1972-2000 Galería Punto, Valencia, Spain

Propios y Extraños. Marlborough Gallery, Madrid, Spain

Group Sculpture Exhibition. Marlborough Gallery, New York, USA

Summer Show. Marlborough Gallery, New York, USA

La figura humana. Casa Primera de Oficios de San Lorenzo de El Escorial, San Lorenzo de El Escorial, Madrid, Spain

Esculturas en el Retiro. Paseo de Coches, Parque del Retiro, Madrid, Spain

VIII Salón de los Trece. Sala de exposiciones de la Fundación Altadis, Madrid, Spain

Manolo Valdés. New Editions, Marlborough Graphics, New York, USA

Art Cologne. Beck & Eggeling, Dusseldorf, Marlborough Gallery, New York, USA

2000 Feria de Basilea, Marlborough Gallery, New York, USA

Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA

Art Expo Chicago, Marlborough Gallery, New York, USA

ARCO ’00. Madrid, Marlborough Gallery, New York, USA

Estampa. Galería Sen, Madrid, Spain

Art Brusels, Art of this Century, Brussels, Belgium

Art Palm Beach, Marlborough Gallery, New York, USA

The Baltimore Contemporary Print Fair, Marlborough Graphics, New York, USA

International Fine Print Dealers Association, Marlborough Graphics, New York, USA

Seattle Print Fair, Marlborough Graphics, New York, USA

San Francisco International Art Exposition, Fort Mason Center, San Francisco, Marlborough Graphics, New York, USA

FIA’00 Art Fair, Galería Freites, Caracas, Marlborough Gallery, New York, USA

Art Miami ’00. Galería Freites, Miami, Florida, USA

St. Louis Print Market, Marlborough Graphics, New York, USA

Paintings, Marlborough Gallery, New york y Montecarlo, Monaco

Interarte, Galería Rosalía Sender, Valencia, Spain

Muestra de pintura y escultura latinoamericana. Galería Espacio, El Salvador

Elogio de lo visible, 27 artistas en torno a la figuración. exposición itinerante: Marlborough Gallery, Madrid; Caja de Ahorros de Murcia;

Centro Cultural “Las Claras”, Caja de Burgos; Centro Cultural “Casa del Cordón”, Cultural Rioja, Logroño, Würth Museum, Germany

Art at Work: Forty Years of the Chase Manhattan Collection. Queens Museum, New york; Houston Museum of Fine Arts, Houston, USA

Apuesta por el Arte. Universidad San Pablo CEU, Madrid, Spain

Propios y Extraños. Marlborough Gallery, Madrid, Spain

Summer Show. Marlborough Gallery, New York, USA

Group Show. Marlborough Gallery, New York, USA

Art Cologne. Beck & Eggeling, Dusseldorf, Marlborough Gallery, New York, Germany

Garaje: imágenes del automóvil en la pintura española del siglo XX. (Equipo Crónica: Rafael Solbes y Manolo Valdés).

Fundación Carlos de Amberes, Madrid, Spain. Itinerante. Centro Galego de Arte Contemporánea, Santiago de Compostela. Galería Vértice, Oviedo, Spain

Medio siglo de arte gráfico en el Museo de Jaén (1945- 1995). Museo Provincial de Jaén, Spain

Les Années Pop. Musèe National d’Art Moderne, Centre Georges Pompidou, Paris, France

1999 ARCO’99. Marlborough Gallery New York, Madrid, Spain

Les grands d’Espagne. Château de Villeneuve- Fondation Emile Hugues, Venice, France

Spanische Kunst Am Ende des Jahrhunderst. Würth Museum, Germany

Art Expo Chicago, Marlborough Gallery, New York, USA

Feria de Basilea, Marlborough Gallery, New York, USA

FIA’99 Art Fair, Galería Freites, Caracas, Marlborough Gallery, New York, USA

Art Miami ’99. Galería Freites, Miami, Florida, USA

International Fine Print Dealers Association, Marlborough Graphics, New York, USA

Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA

The Baltimore Contemporary Print Fair, Marlborough Graphics, New York, USA

St. Louis Print Market. Marlborough Graphics, New

York, USA

Spain is Different. Center for Visual Arts of Norwich, England; Museo de la Ciudad de Valencia, Spain

San Francisco International Art Expo. Fort Mason Center, San Francisco, Marlborough Graphics, New York, USA

Pop Impressions Europe-USA, Prints and Multiples from MOMA. New York, USA

Art at Work. Forty years of the Chase Manhattan Collection. Museum of Fine Arts and the Contemporary Art Museum, Houston, USA

Musée d’Art Contemporain, Vence, France

Sculpture of the Twentieth Century. Nassau County, USA

Museum of Art, Long Island, New York, USA

Manolo Valdés, Paintings. Larry Rivers, Pastels. Foundation Veranneman, Kruishoutem, Belgium

Estampa, VII Salón International del Grabado, Madrid, Spain

Pintura Valenciana del siglo XX. Centre Cultural Bancaixa, Valencia, Spain

Summer Show. Marlborough Gallery, New York, USA

Galería Heller, Madrid, Spain

1998 ARCO’98. Madrid, Marlborough Gallery, New York, USA

FIA ’98. Galería Freites, Caracas, Marlborough Gallery, New York, USA

Art Miami ’98. Galería Freites, Miami, Florida, USA

La Femme dans la Vallée. Museo Arqueológico de Aosta, Valle d’Aosta, Italy

Propios y Extraños. Marlborough Gallery, Madrid, Spain

IX Muestra de Pintura y Escultura Latinoamericana, Gallery Espacio, San Salvador, El Salvador

The Baltimore Contemporary Print Fair, Marlborough Graphics, New York, USA

Still Lifes: Prints and Photographs. Marlborough Gallery New York, New York, USA

Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA

Marlborough Gallery, New York, USA

Interiores. Visiones íntimas de un siglo. Sala Alameda, Diputación de Málaga, Málaga, Spain

La Gran Vía de las esculturas. Valencia, Spain

Pinacoteca do Estado, Sao Paulo, Brasil

Museo de Bellas Artes, Buenos Aires, Argentina

Summer Show. Marlborough Gallery, New York, USA

182 183

Group Show. Marlborough Gallery, New York, USA

Art Expo Chicago. Marlborough Gallery, New York, USA

Arte BA’98, Buenos Aires, Marlborough Gallery, Argentina

International Fine Print Dealers Association, Marlborough Graphics, New York, USA

Estampa, VI Salón Internacional del Grabado, Madrid, Spain

FIAC’98. Paris, Marlborough Gallery, New York, USA

Galerie Marwan Hoss, Paris, France

Galerie Sonia Zannettacci, Ginebra, Switzerland

Pintura valenciana del Siglo XX. Centro Cultural Bancaixa, Valencia, Spain

Los encuentros de Pamplona, 25 años después. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Sobre Papel. Marlborough Gallery, Madrid, Spain

1997 ARCO’97. Madrid, Marlborough Gallery, New York, USA

Marlborough en La Aurora. Gallery La Aurora, Murcia, Spain

Alegorías de la muerte en el arte español contemporáneo. Fundación Mapfre-Vida, Madrid, Spain

Galería Thema, Valencia, Spain

Centre Municipal de Cultura La Mercé, Burriana, Valencia, Spain

Galería Estiarte, Madrid, Spain

Cinco Maestros de la Plástica. Galería Freites, Caracas, Venezuela

FIA’97 Art Fair, Galería Freites, Caracas, Marlborough Gallery, New York, USA

Art Miami ’97. Galería Freites, Miami, Florida, USA

Propios y Extraños. Colectiva, Marlborough Gallery, Madrid, Spain

Paisajes Urbanos. Marlborough Gallery, Madrid, Spain

Summer Show. Marlborough Gallery, New York, USA

Diez Años de Sueños. Gallery Clave, Murcia, Spain

Baltimore Print Fair. Baltimore Museum of Art, Marlborough Graphics, New York, USA

Art Expo Chicago, Marlborough Gallery, New York, USA

IFPDA Print Fair. Seventh Regiment Armory, Marlborough Graphics, New York, USA

Twenty-five Treasures. Campbell-Thiebaud Gallery, San Francisco, USA

XXXIIème Prix International d’Art Contemporain de Montecarlo, Fondation Prince Pierre de Monaco, Monaco

1996 ARCO’96. Madrid, Marlborough Gallery, New York, USA

Materialität und Spiritualität: Chillida, Saura, Tàpies, Equipo Crónica, Valdés. Städische Galerie Bietigheim- Bissingen, Germany

FIA’96 Art Fair, Gallery Freites, Caracas, Marlborough Gallery, New York, USA

Baltimore Print Fair. Baltimore Museum of Art, Marlborough Graphics, New York, USA

Il Cinema: Omaggio ai primi 100 anni del cinema. Galleria Il Gabbiano, Roma, Italy

Petits Formats: Grandes Oeuvres. Galerie Marwan Hoss, Paris, France

On Paper. Marlborough Gallery, New York, USA

Modern and Contemporary Masters. Freites-Revilla Gallery, Coral Gables, Florida, USA

Marlborough en Vértice. Gallery Vértice, Oviedo, Spain

Premio MARCO, Museo de Arte Contemporáneo Monterrey, México

Out of Wood. Rachel Adler Gallery, New York, USA

Su Carta-On Paper. Galleria Il Gabbiano, Roma, Italy

Galleria 1900-2000, Paris, France

Latin Viewpoints: Into the Mainstream. Nassau County Museum of Art, Roslyn Harbor, New York, USA

Art Chicago 1996 at Navy Pier, Chicago, Marlborough Gallery, New York, USA

IFPDA Print Fair. Seventh Regiment Armory, Marlborough Graphics, New York, USA

The Pop 60s: Transatlantic Crossing. Fundacao das Descobertas, Lisboa; Gallery Afinsa-Trindale, Porto; Gallery Afinsa-Almirante, Madrid, Spain

1995 ARCO’95. Madrid, Marlborough Gallery, New York, USA

Arte BA’95, Buenos Aires, Marlborough Gallery, New York, USA

Artists’Bouquets. Champion International Corporation Stamford, Connecticut, USA

Twenty-five Treasures. Campbell-Thiebaud Gallery, San Francisco, USA

Sala Parpalló, Valencia, Spain

Kiosko Alfonso, La Coruña, Spain

The Figure. Campbell-Thiebaud Gallery, San Francisco, USA

Out of Wood. Rachel Adler Gallery, New York, USA

IFPDA Print Fair. Seventh Regiment Armory, Marlborough Graphics, New York, USA

3 Continentes. AMS Marlborough Gallery, Santiago de Chile, Chile

Materialität und Spiritualität. Städtische Galerie, Delmenhorst, Germany

1994 ARCO’94. Madrid, Marlborough Gallery, New York, USA

Figures de l’Art d’Aujourd’hui. Galerie Marwan Hoss, Paris, France

Art After Art. Nassau County Museum of Art, Long Island, New York, USA

Spanish Art and the 3rd Dimension. The Modern Century. The Rotunda, Hong Kong, China

Spanish Art and the 3rd Dimension. The Modern Century. Lagoon Toner, Jakarta, Indonesia

FIA’94 Art Fair, Caracas, Marlborough Gallery, New York, USA

Vision of Masters. Freites – Revilla Gallery, Miami, Florida, USA

1993 Figure: Contemporary Sculpture. Marlborough Gallery, New York, USA

ARCO’93. Marlborough Gallery New York, Madrid, Spain

FIA ’93. Gallery Freites, Caracas, Venezuela

The Purloined Image. Flint Institute of Art, Flint, Michigan, USA

FIAC. Grand Palais, Paris; Galleria d’Arte Il Gabbiano, Roma, Italy

Art Miami ’93. Miami, Gallery Freites, Caracas, Venezuela

1992 Art a Espanya 1920-1990. Palau de la Virreina, Barcelona, Spain

ARCO’92. Madrid, Marlborough Gallery, New York, USA

On Paper. Marlborough Gallery, New York, USA

Chicago International Art Exhibition, Illinois, Marlborough Gallery, New York, USA

Arte en Spain 1965-1990. Museo Rufino Tamayo, México, D.F.; itinerante: Museo de Arte Moderno, Bogotá; Museo de Arte Contemporáneo

Sofía Imber, Caracas, Venezuela

Contemporary Art from Spain 1982-1992. Washington County Museum of Fine Arts, Hagerstown, Maryland, USA

Contemporary Spanish Artists. Marlborough Fine Art, Tokio, Japón

Arte BA’92, Buenos Aires, Marlborough Gallery, New York, USA

Art Asia. Hong Kong, Marlborough Fine Art, London, UK

1991 Gallery Leonarte, Valencia, Spain

ARCO’91. Madrid, Marlborough Gallery, New York, USA

Chicago International Art Exhibition, Illinois, Marlborough Gallery, New York, USA

10, Galerie Sonia Zannettacci, Ginebra, Switzerland

Amb Mompó. Centre Cultural Contemporani Pelaires, Palma de Mallorca, Spain

Summer Group Show. Marlbororough Gallery, New York, USA

Pop Art. Royal Academy of Art, Londres; Museum Ludwing, Colonia; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Team Spirit. Nueberger Museum, State University of New York, Purchase; Cleveland, Center for Contemporary Art,Ohio; The Art Museum of Florida International University, Miami; Scottsdale Center for the Arts, Scottsdale Cultural Council, Arizona; Winnipeg Art Museum, Manitoba

Laumeier Sculpture Park, St. Louis, Missouri; Salina Art Center y el Wichita Museum of Art, Salina y Wichita, Kansas, USA

Manolo Valdés; Bilder, Skulpturen, Grafik-Pablo Picasso: Grafik 1966-67. Galerie Marie-Louise Wirth, Zürich, Switzerland

Arte en Spain: 1920-1990. Palacio de Sástago, Zaragoza, Spain

1990 Um 1968, Konkret Utopien in Kunst und Gesellschaft. Düsseldorf, Germany; Zürich, Switzerland

15 Anys d’Art Español a la Gallery Maeght. Gallery Maeght, Barcelona, Spain

ARCO’90. Madrid, Marlborough Gallery, New York, USA

Chicago International Art Exhibition, Illinois, Marlborough Gallery, New York, USA

Marlborough en Pelaires. Centre Cultural Contemporani Pelaires, Palma de Mallorca, Spain

1989 Spanish Art in the 20th Century. Seibu Museum of Art, Tokyo y Osaka, Japan

Manolo Valdés y Antoni Tàpies. Galerie Adrien Maeght, Paris, France

Ambarcelona, Barcelona, Spain

El Arte Contemporáneo en las Colecciones Privadas Valencianas. Palau del Marqués de Campo, Valencia, Spain

1988 Cinco Siglos de Arte Español. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

184 185

L’Art Moderne a Marseille. Musée Cantini, Marsella, France

Salon d’Automne, Grand Palais, Paris, France

Exposición Homenaje a las Víctimas del Franquismo. Valencia, Spain

El siglo de Picaso. MNCARS, Madrid, Spain

1987 Arte Español en New york, 1950-1970. New york; Fundación Juan March, Madrid, Spain

Cinc siècles d’Art Español: El Siglo de Picasso. Musèe d’Art Moderne de la Ville de Paris, Paris; Museo Nacional Centro de Arte Reina Sofía,Madrid, Spain

ARCO’87. Madrid: Gallery Maeght, Barcelona. Gallery Estiarte, (obra gáfica), Madrid, Spain

Naturalezas Españolas. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

La Fin des Années 60: d’une contestation l’autre. S.T. André de Maynac, E. N.A.C., Niza, France

25 años de Arte Español Contemporáneo. Sala Luzán, Zaragoza, Spain

Papiers colles. Universidad de Valencia, Valencia, Spain

1986 Museo de Arte Contemporáneo, Buenos Aires, Argentina

Museo de Artes Plásticas, Montevideo, Uruguay

Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela

Museo de Arte Moderno, Santo Domingo, Dominican Republic

Festival Internacional de la Artes Plásticas de Bagdad, Centro de Arte Jadam, Bagdad, Iraq

Medalla de la Bienal Internacional de Seoul de Arte y Cine, Juegos Olímpicos de Seoul, Corea

75 Anni di Protagonisti nell’Arte. Villa Malpensata, Lugano, Switzerland

1985 Figuration Narrative. Galeries d’Arènes et Jules Salles y Chapelle des Jésuites, Nîmes; Musée Cantini, Marsella, Spain

La Presencia de la Realidad en el Arte Español Contemporáneo. Porin Taide Museum, Alvar Aalto Museum, Sinebrychoffin Taidemuseo, Finland

Europäische Grtafik-Biennale Baden-Baden, Baden- Baden, Germany

The Chase Manhattan Bank, New York, USA

ARCO’85. Madrid, Gallery Val i 30, Valencia, Spain

Presencia de la René Metrás. Gallery René Metrás, Barcelona, Spain

1984 Homenaje a Max Beckmann. Galerie der Hochshule für Grafik und Bunchkunst, Leipzig Contemporary Spanish Art, Banco Exterior de Spain, Madrid; The Chase Manhattan Bank, New York, USA

ARCO’84. Madrid, Spain

Arte Español en el Congreso. Congreso de los Diputados, Madrid, Spain

Muestra Itinerante del Museo Salvador Allende. Valencia, Spain

1983 Art contra/against Apartheid. itinerante por France, Spain, Italy, Germany y USA, Kunstnernes Hus, Oslo, Norway

Bonjour Mr. Picasso. Musèe d’Antibes, Antibes, France

ARCO’83. Gallery Maeght, Madrid, Spain

Malmö Konsthall. Malmö, Sweden

1982 Quatre Images Séditieuses. Château de Jau, Jau, France

1981 Festival de Montrouge, Montrouge, France

El Retrato. Sala Parpalló, Valencia, Spain

Muestra Cultural del País Valenciano. Alcoy, Spain

Contraste de la última década. Gallery Theo, Madrid, Spain

Premio Cáceres de Pintura. Cáceres, Spain

El Arte en la Escuela. Escuela de San José, Valencia, Spain.

Panorama 81. Gallery Theo, Madrid, Spain

Homenaje a Picasso. Colegio de Médicos, Valencia, Spain

Arte Actual Valenciano. Salón de Cultura, Villar del Arzobispo, Valencia, Spain

Estampa Popular. Casa de Campo, Madrid, Spain

1980 De Picasso a Nuestros Días. Museo de Bellas Artes de Caracas, Venezuela

Vanguardia Española del Siglo XX. Museo de Bellas Artes, Monterrey, México

Exposición de l’A.C.A.A.C., Tenerife, Spain

Arte y Amnistía. Sala Parpalló, Valencia, Spain

1979 Nachbilder Kunstverein, Hannover, Germany

Exposition Hommage XX Anniversaire Révolution Cubaine, UNESCO, Paris, France

L’univers d’Aimé Maeght. Maison de la Culture, Rennes, France

11th International Biennale Exhibition of Prints in Tokyo, Tokyo, Japan

Images detourées. Centre Georges Pompidou, Paris, France

Festival de Lille; Les unes par les autres. Lille, France

Verwijzen Naar. Gallery Nouvelles Images-Imartect, The Hague, Netherlands

FIAC, Galerie Karl Flinker, Paris, France

Fiesta de la Iletra. Sala Gaspar i BCD, Ciento, Eudes, Prats, Barcelona, Spain

57 Artistas: Un País. Museo Histórico, Valencia, Spain

1978 FIAC. Paris, France

Pintura española del Siglo XX. México

Arte Feria’78, Bologna, Italy

Chile/País Valenciano. Consejería del País Valenciano, Valencia, Spain

1977 Mitologies Quotidiennes II. Musée d´Art Moderne, Paris, France

Biennale di Venezia, Fundación Miró, Barcelona, Spain

La Drapeau, Niza, France

1976 Els Altres 75 anys. Valencia, Spain

Homenaje a Duchamp. Sevilla, Spain

Colectiva, Galeria Frinker, Paris, France

Biennale di Venezia, Venecia, Italy

1975 Guernica. Kunstverein, Ingelstad, Germany

1974 FIAC, Paris, France

Pintura Valenciana, Sevilla, Spain

Proceso a la Violencia. Barcelona, Altea y Alicante, Spain

Exposición Colectiva de Arte Actual, Valencia, Spain

VIIIº Biennale de Paris, France

Spanskt. Lunds Konsthall, Lund, Sweden

1973 Pintores Españoles Contemporáneos, Rótterdam, Netherlands

1970 Ibiza Grafic, Ibiza, Spain

Arte Actual. Torre del Merino, Santillana del Mar, Spain

Homenaje a la Paloma. Gallery Vandrés, Madrid, Spain

Encuentros 72. Pamplona, Spain

Colectiva. Galerie Poll, Berlín, Germany

Feria del grabado, Basilea, Switzerland

Arte Actual Valenciano. Museo de Arte Contemporáneo, Sevilla, Spain

Internationaler Mark für Aktuelle Kunst. Düsseldorf, Germany

1969 Salón de Mai, Paris, France

Grabados Europeos Contemporáneos. La Habana, Cuba

Homenaje a Joan Miró. Granollers, Spain

Gráfica Española Actual. Museo de Arte Contemporanáneo, Sevilla, Spain

Homenaje a Josep Lluis Sert. Colegio de Arquitectos, Tenerife, Spain

1968 From Spain. Crossman Gallery, Wisconsin State University en Whitewater, USA

Bienal de Coltejer, Medellín, Colombia

II Bienale del´Estampe. Musée d´Art Moderne, Paris, France

Kunst und Politik. Karlsuhe, Wuppertal, Germany

Dibujos y grabados europeos. Gallery de la Habana, Cuba

Múltiples. Gallery Iolas Velasco, Madrid, Spain

Colectiva. Green Gallery, New York, USA

Eros en Spain. Gallery Vandrés, Madrid, Spain

Aspect du Racisme. Paris, France

Colectiva. Gallery Juana de Aizpuru, Sevilla, Spain

1967 Arte español contemporáneo. Gallery La Pasarela, Sevilla, Spain

Pictorama 1: Pintura al Aire Libre. Barcelona, Spain

1966 Art Vivant. Foundation Maeght, Saint-Paul de Vence, France

Jeune Peinture/Vietnam. Paris, France

Pluralita Viva, Martinengo, Italy

Tres Pintores Españoles. Savona, Italy

Gallery Val i 30, Valencia, Spain

Gallery L´Agrifoglio, Milan, Italy

1965 Le Monde en Question. Musée d´Art Moderne, Paris, France

187

Vicente Aguilera Cerni, Panorama del nuevo arte español. Guadarrama, Madrid, 1966.

Antonio Arco, Dama de Murcia. Una escultura de Manolo Valdés. Comune di Murcia, 2005.

Kosme de Barañano, Manolo Valdés. Ed. Polígrafa, Barcelona, 1999.

Kosme de Barañano, Valdés: pintura y escultura. Una visión retrospectiva. Guggenheim Bilbao-Art of this century, Bilbao-París, 2003.

Kosme de Barañano, Manolo Valdés. El artista en su taller. TF Ed., Madrid, 2003.

Kosme de Barañano, Manolo Valdés. Chasse, battue, lever l’histoire de l’art. Ed. de Château du Chambord, Loire, 2010.

Valeriano Bozal y Tomás Llorens, España: vanguardia artística y realidad social: 1936-1976. Ed. Gustavo Gili, Barcelona, 1976.

Valeriano Bozal, Tomás Llorens y Michèle Dalmace, Equipo Crónica: 1965-1981. Ministero della Cultura e Fondazione per l’aiuto alla Cultura, Madrid, 1989.

Valeriano Bozal, Manolo Valdés: maneras de mirar mundos. TF Ed., Madrid, 2001.

Michèle Dalmace, Equipo Crónica. Institut Valencia d’Art Modern, Valencia, 2001.

Tomás Llorens, Equipo Crónica. Ed. Gustavo Gili, Col. Nueva Órbita, Barcelona, 1972.

Jean Marie del Moral, La maison des peintres. Ed. Flammation, París, 2000.

VV.AA., Manolo Valdés. La intemporalidad del arte (textos de V. Bozal, M. B. Burke, J. M. Caballero Bonald, D. Cameron, G. Campbell, S. A. Consalvi, K. Cummings Suárez, K. de Barañano, C. Kesser, A. Muñoz Molina, J. F. Yvars, M. J. Bono y A. Noguera). Villegas Ed., Bogotá, 1999.

Vicente Verdú, La construcción del universo. La Dama del Manzanares de Manolo Valdés. Photographs by Javier Campano, TF Ed., Madrid, 2005.

MONOGRAFIE / MONOGRAPHS

XVIIIº Salon de la Jeune Peinture. Musée d´Art Moderne, Paris, France

MAN-67, Barcelona, Spain

Bande Dessinée et Figuration Narrative. Musée des Arts Décoratifs, Paris, France

Opera Grafica di Artisti Spagnoli, Galleria Il Giorno, Milan, Italy

Exposición de Arte Contemporáneo, San Sebastián y Barcelona, Spain

Festival d´Aubervilliers, Aubervilliers, France

Festival des Arts Plastiques de la Côte d´Azur. Antibes y Niza, France.

Salón Nacional de Tortosa. Tortosa, Spain

Stefano Contini - Manolo Valdés

Manolo Valdés. Peintures i escultures 1982 (testo di Valeriano Bozal: “Un modelo del mundo”, Tomás Llorens: “Començar de nou” y José F. Yvars: “Fantasía, orden, memoria. Sugerencias de interpretación”). Galería Maeght, Barcelona, 1982/1983.

Manolo Valdés. Bilder und skulpturen 1982-1984 (testo di Caroline Kesser: “Aus Demselben Schützengraben”). Galerie Poll, Berlín, 1984.

Manolo Valdés. Pintures i escultures (testo di Antonio Saura: “Cuadros de una exposición [Galería de Manolo Valdés]”). Galería Maeght, Barcelona, 1985.

Manolo Valdés (testo di Victoria Combalía: “Manolo Valdés: la pasión por la pintura”). Galería Trama, Barcelona, 1992.

Manolo Valdés. Pintura y escultura (testo di J. M. Caballero Bonald: “Manolo Valdés: ritual de la materia”). Galería Marlborough, Madrid, 1993.

Manolo Valdés. Pinturas y esculturas (testo di Glena Campbell: “The most weight, the great reality”). Campbell-Thiebaud Gallery, San Francisco, 1996.

Manolo Valdés (testo di Kosme de Barañano: “Manolo Valdés, el detalle como unidad”). Galería Marlborough, Madrid, 1998.

Manolo Valdés. Recent paintings (testo di Markus B. Burke: “Manolo Valdés: an appreciation of appropiation”). Acatos Gallery, Lausana, 1998.

Manolo Valdés. Obra reciente (testo di Antonio Muñoz Molina: “Manolo Valdés, con Manhattan al fondo”). Galería Marlborou-gh, Madrid, 2002.

Manolo Valdés (testo di Fiamma Arditi: “In viagio con las Meninas”). Il Gabbiano Edizioni d’Arte, Roma, 2002.

Pintar palabras (testo di Jon Juaristi y Pablo Rico). Instituto Cervantes, Madrid, 2003.

Manolo Valdés. Recent work (testo di Kosme de Barañano: “Valdés: material and memory”). Marlborough Fine Art London, Londres, 2005.

Les Menines de Valdés (testo di Kosme de Barañano: “Les trois dimensiones chez Valdés”). París, 2005.

Manolo Valdés 1981-2006 (testo Maria José Salazar), Museo Nacional Centro de Arte Reina Sofía, Madrid, 2006.

Manolo Valdés. Retrospectiva (testo di Kosme de Barañano: “Historical reception”). Museo Estatal Ruso, San Petersburgo, 2008.

Manolo Valdés (testo di Chu Teh-Chun). Museo Nacional de China, Pekín, 2009.

Manolo Valdés. Obra reciente (testo di Kosme de Barañano: “La voz solar de Manolo Valdés”). Galeria Benlliure, Valencia, 2009.

Manolo Valdés: Picasso como pre-texto (testo di Kosme de Barañano). Fundación Pablo Ruiz Picasso, Málaga, 2010.

Naturaleza muerta en la pintura española. Siglos XX-XXI. Galería Marlborough, Madrid, 2016.

Valdés: una visión personal (testo di Kosme de Barañano). Fundacion Bancaja, Valencia, 2017.

PRINCIPALI CATALOGHISELECTED CATALOGUES

Questo catalogo è stato stampato l’8 giugno 2018, stesso giorno in cui, nel 1504, il Davide di Michelangelo fu presentato per la prima volta al pubblico a Firenze.This catalogue was printed on June 8, 2018, the same day on which Michelangelo’s “ Dav id ” was presented in Florence to the public.

Peruzzo Industrie Grafi cheMestrino (PD)

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