Exhibition, April 27 – September 24
Bernat Daviu (Girona, 1985) is a restless figure on the Barcelona art scene today. Both artist and dealer, Daviu combines running the Passatge Studio and the Bombon Projects gallery with prolific artistic production, as well as his activities as a founder-member of the Forever Blowing Bubbles group. Trained at the Central Saint Martins art school in London, he focuses his work on reviving the utopian, revolutionary spirit of the avant-garde movements through an approach that is romantic, ironic and rebellious. It was with this goal in mind that Bernat Daviu founded the Garrofista (“Carobist”) movement, a group of up-and-coming painters, musicians, writers and poets brought together around the carob as a metaphor for resistance and all that which is precarious. In the activities of this group, the members inhabit a fictitious avant-garde context imaged by Bernat Daviu, working in different formats: painting, video, writing, performance and so on.
After the presentation of the Garrofista group at Fundació Joan Miró (2016 Loop Festival) and MACBA (at Antoni Miralda and Montse Guillen’s L’Internacional in April 2016), Bernat Daviu now introduces this third project at Fundació Arranz-Bravo. Garrofistes is an exhibition of portraits of group members by Daviu himself. The portraits include artists like Aldo Urbano, Marcel Rubio, Patricia Fernandez, Enric Farrés, Daniel Moreno and Lluc Baños, as well as the singer Martina Borrut, the gastronomist Susana Sunçais, the art dealer Joana Roda, the curator Caterina Almirall, the guitarist Gerard Serra, the writer Victor Balcells, the film director Marc Roca and the producer Sira Roda.
At this year’s Loop Festival (May 18-27), Marc Roca (a founder-member of the movement and co-director of its film, Guanyar-se les garrofes), will present a new film, El néctar de la inflació (“The Nectar of Inflation”, 2017). Roca will be accompanied at this presentation by Artur Tort, Marc Cuscó and Gabriel Ventura.
The Foundation decided to celebrate Eduard Arranz-Bravo’s 75th birthday with a project to suit this important occasion. Accordingly, seventy-five personalities from the world of culture and civil society were invited to select and comment on a work of art by our artist. We suggested a choice of seventy-five pieces, consisting of fifty-nine new, unseen works by Arranz-Bravo, six objects from his personal collection and ten pieces from the collections of the Arranz-Bravo Foundation. One way or another, all of Arranz-Bravo’s artistic phases are represented in these seventy-five works, which will be exhibited, alongside their seventy-five interpretations, at the Foundation, and are reproduced in the publication you now have in your hands.
The contribution made by each participant has helped us to build up a most unusual artistic biography of Eduard Arranz-Bravo: his creative awakening in the nineteen-sixties, evoked by members of that generation (Isidor Prenafeta, Antoni Llena, Francesc Parcerisas) and critics from those times (José Corredor-Matheos); the euphoria of the nineteen-seventies, seen through the eyes of leading protagonists from those days (Lluís Bassat, Antoni Marí, Jordi Garcés); the opinion of expert historians (Àlex Mitrani) and the experience of dealers (Gaspar); the luminous creativity of the nineteen-eighties in Cadaqués reflected in the critical authority of Vicenç Altaió and the first-hand knowledge of the dealer Àlex Nogueras; internationalisation in the nineteen-nineties through the large group of American admirers linked to the Franklin Bowles galleries in San Francisco and New York; tFranklin Bowles galleries in San Francisco and New York; the discovery of Arranz- Bravo’s work today by the Catalan critics, both veteran (Sílvia Muñoz, Núria Poch, Ricard Planas, Conxita Oliver, Martina Millà, Jèssica Jaques, Josep de Calassanç Laplana, Mercè Pomers, Joan González and Lluís Nacenta) and younger (Jordi Garrido, Bernat Puigdollers, Georgina Parrilla, Aina Mercader, Marta Sánchez), and Arranz-Bravo’s own connection with younger artists (Marcel Rubio, Raúl Páez, Francesc Ruiz Abad, Pere Llobera, Miquel Gelabert, Martí Cormand, German Consetti, Albert Arribas, Artur Muñoz and Bernat Daviu) and art teachers (Mar Redondo and Roser Masip); and, finally, the close links with the city of L’Hospitalet and the many contacts established, since the nineteen-eighties and through the activities of the Foundation itself, with schools, teachers, pupils, artists, museum directors, associations and the local authority.
FALLA (fault) is the title of Ayelen Peressini (1986) and Aldo Urbano’s (1991) exhibition at the Arranz-Bravo Foundation. Both awarded with the scholarchip for Creation and Production by the Guasch-Coranty Foundation, their work’s characteristics have led to collaborate in this project, which is curated by the art critic and historian Jordi Garrido (1991), who makes his debut in curating with this exhibition.
“Is contemporary the one who perceives the fault of its time; […] who makes from this fracture a meeting point among time and generations” says the philosopher Giorgio Agamben. This fault (FALLA) is the very point where Aldo and Ayelen’s work meet, an uncomfortable place in which the lacks of our present – ever hostile – are shown. It is from this hostility, inherent to a late postmodern society that has condemned everything that goes beyond reason and extreme materialism, that both Ayelen and Aldo face a human need: an inner necessity that connects the individual with a lost spirituality.
Line, movement and space are the three basic elements we find in the combination that gives birth to the work found in FALLA. On one side, Ayelen Peressini situates herself halfway between architecture and sculpture; a mixed environment made of tridimensional structures that in spite of its dimensions – bigger than human-scale in most occasions – are enormously faint, almost volatile. This contradistinction between visual lightness and large size is the duality that gives power to Ayelen’s work: the space occupied by the structures becomes an invisible but noticeable presence, which makes vibrate the silent void suspended within, ready to be spiritually inhabited. On the other side of the coin we find Aldo’s work, emplaced in an undetermined point – which does not need any more definition than the one it has – with one foot set on painting and the other on drawing. In both cases, he shows a clear determination of interpellating the other, whether it is through form, with vibrating lines, or through dislocated planes from the bidimensional surface of the painting, thus invading space. This interpellation is seen very clearly in painting, he himself speaks of provoking “cognitive shortcuts” in the observer with acid chromatic combinations and uneven strokes.
By means of the tools given by Ayelen Peressini and Aldo Urbano, FALLA begins a discussion about contemporaneity and its lack of spirituality through art.