POST-PAINTERLYABSTRACTION

2ND exhibitioN SeSSioN 2012

Centro Andaluz de Arte Contemporáneo

sessionPOST-PAINTERLY ABSTRACTION

The program of exhibitions and activities presented herein may be extended during the period under discussion, and may also suffer alteration of one kind or another due to events that were unforeseen at the time of publication. Up-to-date information can be consulted at www.caac.es

In 1964 the influential American art critic Clement Greenberg organized an exhibition at the Los Angeles County Museum of Art entitled Post-Painterly Abstraction. The show featured the work of numerous artists united by their desire to offer an alternative to the Abstract Expressionism that had dominated the US art scene of the 1940s and 50s. Although the exhibition was very heterogeneous, its title was an instant success and is still used today to refer to a wide range of trends that emerged in the 1960s and 70s, including colour field and hard-edge painting. In his text for the exhibition catalogue, Greenberg stated that the principal characteristics of this trend were clarity and openness, as opposed to the gesturality and density of Abstract Expressionism. However, as Greenberg also pointed out, “there is no question of repudiating its best achievements” because many learned and evolved from that movement. Rather, the new abstraction was simply a straightforward style of painting in which colour and painterliness took precedence over all other considerations, whether interpretative or symbolic. The decision to resurrect the 1964 title for this exhibition session at the CAAC has been motivated not only by a desire to re-examine this term in a contemporary light –a term which deserves to be remembered because of how it has influenced artistic creation in Andalusia since then and which this institution’s collection has embraced and studied– but also by the determination to prove the existence of a literal post-painterly abstraction, one that has spread beyond the confines of the canvas and allowed abstract painterliness to overflow into other disciplines such as video and art film.

JOSÉ SOTOcolor fielDS

31 MAY. – 30 SEP. 2012South Wing

Curators: Luisa López Moreno and Juan Bosco Díaz-Urmeneta

The artistic endeavors of José Soto Reyes (Seville, 1934), as drawing teacher, curator and exhibition designer, extend over more than four decades, but these tasks have painting as their nexus and stimulus. His painting has to do with to the abstraction that began in New York at the end of the 1940s, especially with so-called color field painting, as conceived by Barnett Newman in particular. With him Soto shares an interest in color and pictorial space, and especially a desire: that painting should be about itself without seeking to describe, narrate or express. It is painting per se that must see to it that a material object, the picture, is substantiated as a work. Soto has recourse to the language of line and plane, while preventing geometric rigor from truncating rhythm. He creates non-hierarchical frontal spaces in which exactitude coexists in a sort of tension with dynamism, with color cooperating tellingly in this. He emphasizes its interactivity in such a way that two neighboring fields reinforce one another in gentle contrast. The fine lines that seemingly divide these fields help, instead, to unify and lend rhythm to the picture surface. In a prolonged dialogue with painting, Soto seeks after unusual nuances: colors that challenge the very idea of color and which make the surface of the picture come forward or cause it to pool in depth. Moreover, he applies color with a technique all his own, with gestures that recall stamping, leaving a trace that addresses sight as well as touch. His work had a challenge pending: scale, the format capable of enveloping the viewer, in two or three dimensions. To this there responds the recent work exhibited in these galleries.

JOSÉ SOTO. Black and Red on White. Diagonal Constant Space, 2012Acrylics on wood, 200 x 600 x 50 cm.Installation view. CAAC, 2012Photo: Claudio del Campo

RUTH MORÁNpSYchographieS

21 JUN. – 7 OCT. 2012Prior Gallery

The series of works by Ruth Morán (Badajoz, 1976) shown in this exhibition were recently done during her stay at the Royal Academy of Spain in Rome. It is made up of felt-tip pen and vinyl tempera paintings, all of the same size and with an identical, opaque, black background against which white floating and stratified compositions emerge. Its title, Psychographies, which literally means the description of the faculties of the soul, could suggest the keys to understanding the complex world created by Ruth Morán from various sides of abstraction. The artist is deeply influenced by the gestural nature of the so-called “action painting”. She herself reveals that she works from an emotion-reason binomial. This is summarized on the painting surface of her works, where chaos and order are evenly balanced. There has been a change in the relation between space, light and form, clearly shown in her evolution. She went from occupying the entire painting surface in her previous works, of a textile feel, to the more organized schemes of her current pieces. The distribution of the pictorial matter is now placed in the middle of the black void, sustained by a hidden structure which gives it an ethereal look, as if it were flying. Light reflects cores of energy from which rebelling filaments escape order. Ruth Morán defines this work as a “tiny space of light, a cumulative game, a palimpsest. It is an art piece which demands a sacrifice: to extract light rather than reflect it”.

RuTh MORán. Psychographies, 2012Paper, tempera paint and fibre-tip, 200 x 152 cm. (each)Installation view. CAAC, 2012Photo: Guillermo Mendo

JOSÉ PIÑARreMaSteriNgS aND greateSt hitS

21 JUN. – 7 OCT. 2012East Wing

Through the use of two specific terms of the music industry such as remastering and Greatest Hits, both referring to the idea of re-editing and revisiting previous works, José Piñar (Granada, 1967) reflects deeply on his art works of the past 20 years. Remastering is a common practice in music production. It implies reviving old sound archives and giving them a new life thanks to a technologically enhanced audio. Yet José Piñar, aware of how unusual this exercise is in the field of painting, revives past works and reinterprets in a large format those fragments or images which he considers milestones, within his line of work, always as a part of the abstract art form. This exhibition, ironically named “Greatest Hits” to carry on with the musical simile, is made up of a collection of paintings of various times which José Piñar has kept in his studio. While some of these have been shown in exhibitions and later returned to their original site, others have remained unknown and have built up the ever-increasing amount of experience and expertise that the artist has gained over the years. José Piñar has taken a break from painting to exhibit a part of his personal collection in this museum. The display of over one hundred works, randomly collected, gives us a glimpse into fragments of colour in complex geometry. This captures, at the same time, the ideas of memory and renewal in only one word.

JOSÉ piñaR. Greatest Hits, 1992-2012Instalation view. CAAC, 2012Photo: Luis Durán

PALOMA GÁMEZViolet

12 JUL. – 11 NOV. 2012South Wing

The series of works that Paloma Gámez (Bailén, Jaén, 1964) has done for this museum under the name Violet, refer directly to two other series of paintings, Green and Red. Over the last few years, the artist has produced these pieces using abstraction and through a thorough and personal study of colour and space. The ideas of repetition and seriation are a constant theme in her works. As the artist herself admits, her works are self-referential, so far as they are created from previous works. Thus, a system of interrelated art pieces is generated. Violet suggests a journey around various spaces through five interconnected works done using diverse techniques: video, print on paper, acrylic on canvas and paint on wall. Finally, the artist invites us to visit the library. There, in the skylight, Gámez has repeated the same colour patterns as in the rooms of this museum. Her use of the exhibition and architectural space is noteworthy. She involves the spectator in an experience of the senses through light, colour and space. The interest of the artist in abstraction processes is noticeable throughout her work: in the the procedures, in how the pieces materialize as well as in the way she uses colour, devoid of its symbolism, for the focus is on its sensory ability. The end result is not of a narrative or descriptive nature. It is built from a seriation effect, not from one image. In the eyes of Paloma Gámez, painting is, above all, a space for reflection, experimentation and knowledge.

paLOMa GáMEZ. VioletExhibition view. CAAC, 2012Photo: Guillermo Mendo

The thesis from which we proceed is a simple one and may be summed up thus: in the visual arts of the 20th century there were two great artistic achievements, achievements that involved a revolution not unlike the one perspective implied in the Renaissance. The first, recognized in the historiography of art, is abstraction. The second is movement, which has only more recently been prized, via expanded cinema, experimental film and video, but also through seriality, installation work, optical painting, animation and other new media. This wide-ranging exhibition attempts to conjugate these two major achievements and to study a characteristic phenomenon, abstraction and movement, which has had three historical moments of strength: the 1920s and 30s; the 60s and 70s; and the present day, the latter two periods being the ones that are addressed here. To do this we follow in the wake of at least four previous exhibitions that, from different angles and using different approaches, have broached the phenomenon under consideration: Sons et lumières (Centre Pompidou, Paris, 2004-2005), Visual Music (Hirshhorn Museum, Washington, and MOCA, Los Angeles, 2005), Summer of Love (Tate Liverpool, Schirn Kunsthalle Frankfurt, and Kunsthalle Wien, 2005-2006) and Light Art from Artificial Light (ZKM, Karlsruhe, 2006). The exhibition project itself is divided into two shows, which are superimposed one on top of the other. Firstly, the CAAC collection in terms of its axis to do with pictorial abstraction and beyond. Secondly, a temporary exhibition centering on abstraction in movement. The two share the same space, alternating and interrelating with each other, and on other occasions by setting up oppositions. These are two exhibitions, brought together in a single conceptual and spatial design.

ABSTRACTION AND MOTION

PIC ADRIáN • JOSé LUIS ALExANCO • ELENA ASINS • MANUEL

BARBADILLO • JOSé MARíA BERMEJO • ROSS BLECKNER • BOYLE

FAMILY • JUAN CARLOS BRACHO • PATRICIO CABRERA • GERARDO

DELGADO • EqUIPO 57 • LUIS GORDILLO • JOSé GUERRERO • JOAN

HERNáNDEZ PIJUAN • ANTHONY McCALL • GUSTAv METZGER • HENRI

MICHAUx • MANOLO MILLARES • FRANçOIS MORELLET • ROBERT

MOTHERWELL • MUSEUM OF AMERICAN ART • DANIEL PALACIOS •

CéSAR PATERNOSTO • PAZ PéREZ RAMOS • STEPHEN PRINA • MANOLO

qUEJIDO • SOLEDAD SEvILLA • JOSé RAMóN SIERRA • JUAN SUáREZ

• WOLFGANG TILLMANS • IGNACIO TOvAR • USCO • JUAN USLé •

JOSé vAL DEL OMAR • JOSé MARíA YTURRALDE • SIMóN ZABELL

12 JUL. – 11 NOV. 2012Monumental Area, North and East Wings

Curators: Luisa López Moreno and Juan Antonio álvarez Reyes

GuSTav METZGER. Liquid Crystal Environment, 1965-19985 slide projectors, liquid crystals, glass slides, mechanical control, dimensions variable.Sammlung Migros Museum für Gegenwartskunst Collection.Photo: FBM Studio, Zürich

SEPARATAliterature, art aND thought

21 JUN. – 14 OCT. 2012Royal Pavilion

In January 1979, during Spain’s transition to democracy, Separata, a gazette of literature, art and thought was born in Seville. It was of a multidisciplinary nature and had no previous ideological or aesthetic intentions. Its only aspirations were the return to a unified culture and its only principle was a high standard of quality. The original idea was to go more deeply into the cultural phenomenon, looking for historical references through essays on the works of philosophy, architecture, literature, music and art of prestigious professionals and artists, both national and international. The gazette was directed by poet and literature teacher Jacobo Cortines. Some of its writers were vicente Lleó and Diego Romero de Solís, art history and philosophy teachers respectively. Also, plastic artists and architects Gerardo Delgado, José Ramón Sierra and Juan Suárez wrote for the gazette, as well as architect Roberto Luna. They all made very valuable contributions in their respective fields. While it had a simple appearance –José Ramón Sierra designed the paste up and the dustcovers and Roberto Luna and Juan Suárez did the graphic design–, the gazette included theoretical texts, poetry and unseen drawings of contemporary artists. Among its literary collaborators we find A. González Troyano, R. Chacel, A. Trapiello, L.A. de villena, F. de Azúa, I. Gómez de Liaño, quico Rivas, J.M. Bonet, v. Gómez Pin, L.A. de Cuenca and K. Power. Their works were published next to drawings or essays on art and architecture penned by v. Pérez Escolano, A. Siza, R. Moneo, R. Motherwell, F. Zóbel, M. Millares, J.P. viladecans, C. Laffón, I. Tovar, J.Mª Bermejo, E. Asins, E. Lootz, S. Sevilla, G.P. villalta, Equipo 57 and L. Gordillo, just to name a few. Over the course of six issues until its last publication in 1981, Separata pinpointed the highlights of the Spanish cultural scene and introduced the 1980s. This exhibition shows a selection of the extensive archives of Separata which were recently donated to the CAAC museum and which will soon be part of its art collection.

JOSÉ RaMÓn SiERRa. To Murillo, ca. 1980Pencil and watercolour on paper, 32 x 43’6 cm.Drawing for Separata magazine, unpublished

Centro Andaluz de Arte Contemporáneo presents the 8th edition of the indie and pop music program Nocturama. This festival takes place every summer since 2005 at the museum gardens and out-doors areas. On the occasion of the 2012 edition, 25 bands participate. Among them, the Swedish band MF/MB/ opens the season and Dr. Explosion closes it on August 30.

JUN. – AUG. 2012Our Father’s Courtyard

Price: June and July, € 5; August, € 6. Limited capacityAdvance booking at www.ticketea.com Concerts: 22.00 h.Organization: CAAC. Programming: Green Ufos and La SuiteInformation: www.caac.es

NOCTURAMA

auGuSTWednesday 1LaS buEnaS nOchES

Thursday 2nudOZuRdO

Wednesday 8 hOLa a TOdO EL MundO

Thursday 9SR. chinaRRO

Wednesday 15 LiSabö

Thursday 16niñOS MuTanTES

Wednesday 22JOSh ROuSE & ThE LOnG vacaTiOnS

Thursday 23KiKO vEnEnO + chaRLiE cEpEda

Wednesday 29iván FERREiRO

Thursday 30LOS nEWS + dR. EXpLOSiOn

JunE

Thursday 28MF/Mb/

Friday 29LOS punSETES

JuLYWednesday 4La caSa aZuL

Thursday 5MièLE

Wednesday 11ESpanTO + dObLE pLETina

Thursday 12páJaRO + ThE SOFT hiLLS

Wednesday 18bERTRand bETch

Thursday 19anTOnia FOnT+ pLEaSanT dREaMS

Wednesday 25bEnJaMin SchOOS

Thursday 26LcMdF

Saturday 28chRiSTian KJELLvandER Nocturama stage. Photo: Francisco Angulo

SUMMER CONCERTS 2O12

EDUCATIONAL ACTIVITIESDiScoVer, experiMeNt, participate

JUN. 2011 – NOV. 2012Exhibition spaces and didactic workshops area

Information and prior booking: Tel. 955 037 096 - 140 | Fax. 955 037 052educ.caac@juntadeandalucia.es

The CAAC offers a program of activities to do with its exhibitions aimed at different sections of the public, from infants and families to young people and grownups, with special attention being paid to groups who run the risk of social exclusion. In this educational project the relationships between different aspects of contemporary art are analyzed. An educational and integrationist experience led by a team of specialized monitors in which explanations in the exhibition space-going into issues referring to today’s culture and contemporary art-alternate with activities to do with creative practice that are undertaken in the workshops. By means of these educational activities participants are offered new critical and comprehensive approaches to the reality of which they are a part, as well as new spaces for debate and communication.

“pOST-painTERLY abSTRacTiOn”. A DIDACTIC WORKSHOP AND GUIDED TOUR FOR SCHOOLCHILDRENFrom Tuesday to Friday. prior booking Experiments with pupils about the content of a group of exhibitions.

GUIDED TOURS FOR THE GENERAL PUBLIC during public opening times. prior booking Explanatory visits to the exhibitions, adapted to the particular needs of visitors.

PROGRAM FOR FAMILIES. Every Sunday at 12 h. prior bookingActivities conceived for bringing the world of contemporary art closer to children accompanied by adults, for which visits and creative workshops are mounted.

School visit to the Monumental AreaPhoto: Luis Durán

ADDRESS

Cartuja de Santa María de las CuevasAvda. de Américo vespucio nº 2Isla de la Cartuja41092 - Sevilla

CONTACT

Tel. + 34 955 037 070Fax + 34 955 037 052actividades.caac@juntadeandalucia.eswww.caac.es

ACCESS

Avda. de Américo vespucio nº 2Camino de los Descubrimientos s/n

TRANSPORT

Bus routes C1, C2

OPENING HOURS

ExHIBITION AND MONUMENTAL AREATuesday to Saturday: 11 to 21 h.Sunday and public holidays: 11 to 15 h. Closed on: Monday (except holidays), January 6, May 2, August 15 and December 25, 2012

Last admission 30 minutes before closing

LIBRARYMonday: 9:45 to 13:45 h.Tuesday to Thursday: 9:45 to 13:45 h. and 15:45 to 17:45 h.Friday: 9 to 14 h.Summer Timetable (from June 16 to July 31 and from September 1 to 15):Monday to Friday: 9 to 14 h. august closed

www.caac.es