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A MANOLO VALDES AT PERA MUSEUM ISTANBUL – TURKEY PART II May 8, 2013 – July 21, 2013 A A CONVERSATION WITH MANOLO VALDES & VIOLANT PORCEL Violant Porcel: When did you first become interested in sculpture? Manolo Valdés: I was already doing sculpture with the Equipo Crónica, but of a different kind. I choose a painting—maybe from the 17th century, maybe from today—and I interpret it first from the perspective of the painting’s specificity and then from the perspective of sculpture. In this way, when you transform a two-dimensional image into a three-dimensional one, it’s as if you were bringing another observation to it; of course, this gives it a new identity. I feel increasingly driven to carry out this process. VP: At first, your pictorial references in sculpture were much more obvious; for example, artists such as Léger or Morandi. But then, as time has gone by, you have moved towards references taken more from sculpture, maybe from pioneering modern sculptors such as Brancusi or Giacometti. How did this change come about? MV: I have always used many different references, from African masks to primitively hewn stones, or from Roman garments to Julio González’s welded sculptures, for example. One of my greatest fears is that the things that inspire artists like me will disappear. And, of course, the solution to this unknown lies in the power of memory. VP: You often rework the same theme using different materials. This public-sculpture exhibition features the piece Lillie, a woman wearing a hat who has also been represented in a number of your previous paintings. The same is true of the piece Odalisque. What meandering paths does your work process follow in this respect? MV: All the sculptures I have made have their equivalent in paintings. Sometimes sculpture leads me to painting, and sometimes it’s the other way around. It is a mystery how an image finds its way into your head, but once it’s inside, I want to fashion it in three dimensions. I suppose it’s an impulse; call it a visceral conviction or instinct. I might take an image by Matisse or Velázquez, for example, but the reference that motivates me is not the painting itself but rather the way the artist creates the work on the canvas. Or if, say, I take a work by Lipchitz as a starting point, I do not focus on the artist’s creative approach and outcome but on the way Lipchitz actually works the clay. Or in the case of Brancusi, what interests me fundamentally is his way of thinking, of projecting, the oval. And so it is with whoever it might be. VP: Las Meninas has been an obsession of yours since you started out with the Equipo Crónica. MV: Yes, I am fascinated by this painting, and I always choose the same figures from it: Reina Mariana and the Infanta Maria Teresa. And even though I tried to keep them out of my work for periods of time, they always reappeared in different forms. It’s an image I can keep linking to different motifs, a subconscious motivation that can look like a bell or other similar imagery. Today, however, I no longer try to restrict myself in this regard; Las Meninas is an image that continues to interest me and which is, for me, an extremely powerful one. VP: Your work reveals a deep search into material, in a very physical sense, shall we say. So cracks or fissures become essential elements of your sculptures, giving them life, suggesting a pre-existing drama or an incision in time. And if on one the hand they seem to be the result of a process that is effectively intuitive, on the other they acquire a sense of transcendence that can be compared to what the cuts or holes of, say, Lucio Fontana represented. How do you work materials to achieve such results? MV: The sensuality of these materials interests me a great deal, naturally. What attracts me most are waste materials, battered and discarded, precisely because they are tortured by being broken, because they are the result of accidents. So what I do is arrange the diverse material I collect on the floor, then I look at it and I feel it, but one kind will motivate me while another will not. My heart dictates what I choose. I am not a carver, since I don’t take a uniform block and extract a sculpture from it, waiting for it to appear to me. Rather I consider myself more a modeller of what I use, and I work wood or metal as if they were clay. VP: Many of the sculptures in this exhibition are large, faceless heads wearing extravagant headdresses, an iconography that has been a major feature of your monumental sculpture in recent years. MV: Yes, what mainly interests me is introducing very different registers into a single piece. So the lower part, which is precisely the conventional face of the image, becomes more static, whilst the upper part, the headdresses on each head, turns into the opposite, an image of movement. And I must admit that I adore the pronounced tension that is established between the two parts; it’s as if they were two entirely different sculptures. And the challenge is having them function as a harmonious whole, as well as allowing their initially different formulation to be seen not as something separate but rather as something enriching. Most of these pieces are made from bronze, although the Colossuses are different since I used wrought iron for them. Moreover, these figures came about as a result of a major exhibition on minimalism that was held in the Guggenheim in New York, which inspired me once again to achieve that tension between opposites that is a feature of my work, and that in this instance I obtained by combining thick metal sheets with simple shapes. VP: How did this emphasis on space, on size, appear in your work? MV: Over time, I designed my sculptures on an ever-larger scale, until the time came when they had to be outside; that is, they had to move out of the studio and onto the street. In any case, I am generally not a great fan of outsized sculptures on principle; in fact most of the time I prefer sculptures of modest dimensions, ones that you can get close to without feeling intimidated by them. I live in Manhattan, near Central Park, where there is a sculpture of Alice in Wonderland, another of a dog, and you always see children playing on them. And, you know, I envy that friendly bond between the sculptures, magnificent in their “thereness”, and the person who looks at them or who simply accepts them as part of the surroundings. Later, after I had these experiences and ideas, I was commissioned to create public pieces, and I realised that my own work could be on a larger scale, too. VP: There’s a renewed interest in art on the street and, consequently, a debate about how it should relate to its setting. What is your opinion on this? MV: Seeing sculptures on the streets is interesting; they take on another perspective. People contemplate them in a far less formal way than they do in museums, experiencing feelings of admiration or rejection towards them in a very direct way. This suggests that there are sculptures whose style and content are different and even conflicting. So it is really exciting when, in an urban environment, there are groups of sculptures that are heterogeneous to the point of almost causing conceptual confrontation between their elements. And I am horrified that people are supposed to blindly accept a single discourse. Hasn’t the 20th century’s fundamental contribution to art been a stunning variety of ideas? We all defend our own creation, its specificity. This is undeniable, and it ties in with the fact that the artistic heritage of towns and cities comes from accumulating works from throughout history, which in itself is an extraordinary lesson in freedom. VP: You have often used references to Spanish art. Do you think that explicitly national art exists these days, or do you see it as something outdated and overtaken by globalisation and the power of the international market? MV: Artistic transgressions and influences have existed throughout history. For example, Velázquez’s time in Italy had a decisive influence on his work. Today, the exchange is more fluid. There are magazines and aeroplanes, and people even travel to other countries just to see an exhibition. If we take New York as an example, there are currently two exhibitions that illustrate this process: the Guggenheim has a major exhibition on Spanish art, ranging from El Greco to Picasso, and the Whitney Museum of American Art has an exhibition on Picasso’s influence on American art, which demonstrates that influences have been around for a long time. VP: You have lived in New York for so long. Do you think that it is a good idea, even necessary, for artists to move around today? MV: I don’t consider it necessary, but in my own case it is certainly true that I emigrated to New York in search of a better life. Not all famous artists live in this city, although a large number of important events do take place here. When an artist has an exhibition or works in New York, they feel more driven, perhaps more exacting. I believe that it is a positive move to come here in search of information. Throughout history, they have always been cultural hubs… If you stay in one place, your risk becoming shut in. However, this is less common these days. http://en.peramuzesi.org.tr/exhibitions/detail_temporary_exhibitions.aspx?SectionID=%2fMV%2bOpK85xqSgN%2f2UfC5og%3d%3d&ContentID=GYQ0x1Kk%2bPzbkww8ezTVsw%3d%3d You may reach to see Manolo Valdes's Exhibition news part I at Pera Museum Istanbul and Marlborough Gallery New York Press Releass with more paintings to click below links. http://mymagicalattic.blogspot.com/2013/06/manolo-valdes-at-pera-museum-istanbul.html http://mymagicalattic.blogspot.com.tr/2013/11/manolo-valdes-at-marlborough-gallery.html DOROTHY ON GRAY BACKROUND 2010 ( DETAIL ) A DOROTHY ON GRAY BACKROUND 2010 ( DETAIL ) LILLIE X – 2005 A HEAD II, 2011 Alabaster and Iron Dimensions: 61 x 76 x 61 cm © Artist Manolo Valdes 2013 NUDE IN OCHRE II – 2010 ( DETAIL ) NUDE IN OCHRE II – 2010 NUDE IN OCHRE II – 2010 ( DETAIL ) A LEAF IV 1999 A LADY WITH BLUE HAT 2009 LADY WITH BLUE HAT 2009 ( DETAIL ) A A A LADY WITH BLUE HAT 2009 ( DETAIL ) PROFILE IV - 2006 A PROFILE III, 2006 Etching and Silkscreen Edition of 50, Dimensions: 167.6 x 129.5 cm © Artist Manolo Valdes 2013 NUDE IN PINK 2010 PERA MUSEUM ISTANBUL PERA MUSEUM ISTANBUL Inaugurated on 8 June 2005, Pera Museum is a private museum founded by the Suna and İnan Kıraç Foundation. The aim of offering an outstanding range of diverse high quality culture and art services is as important today as when the Museum first opened its doors to the public. Couched in the historic quarter of Tepebaşı, the impressive building was originally conceived as the Bristol Hotel, designed by architect Achille Manoussos. Restorer and architect Sinan Genim was given the daunting renovation operation in 2003; the triumph of transforming the interior into a modern and fully equipped museum is only matched by the architect’s mastery in simultaneously preserving the exterior façade, safeguarding an integral part of Istanbul’s architectural flavour. Through Suna and İnan Kıraç Foundation's three permanent collections, “Orientalist Paintings”, “Anatolian Weights and Measures”, and “Kütahya Tiles and Ceramics”, Pera Museum seeks not only to diffuse the aesthetic beauty of these collections but also to create dialogue with the public concerning the values and identities that they encompass. Utilizing a full scope of innovative methods, including exhibitions, publications, audio-visual events, educational activities, and academic works, the objective of transmitting the beauty and importance of these works to future generations is realised. Having organized joint projects with leading international museums, collections, and foundations including Tate Britain, Victoria and Albert Museum, St. Petersburg Russian State Museum, JP Morgan Chase Collection, New York School of Visual Arts, and the Maeght Foundation, Pera Museum has introduced Turkish audiences to countless internationally acclaimed artists. Some of the most illustrious amongst these include Jean Dubuffet, Henri Cartier-Bresson, Rembrandt, Niko Pirosmani, Josef Koudelka, Joan Miró, Akira Kurosawa, Marc Chagall, Pablo Picasso, Fernando Botero, Frida Kahlo, Diego Rivera, and Goya. Since its inauguration, Pera Museum collaborates annually with national and international institutions of art and education to hold exhibitions that support young artists. All of the Museum’s exhibitions are accompanied by books, catalogues, audio-visual events in addition to education programs. Parallel to its seasonal programs and events, Pera Film offers visitors and film buffs a wide range of screenings that extend from classics and independent movies to animated films and documentaries. Pera Film also hosts special shows that directly correlate with the temporary exhibitions’ themes. Pera Museum has evolved to become a leading and distinguished cultural center in one of the liveliest quarters of İstanbul. http://www.peramuseum.org/Content/about-pera-museum/58 PERA MUSEUM ISTANBUL PORTRAIT WITH YELLOW AND BLUE FACE, 1999 Oil on Burlap Dimensions: 242.4 x 171.8 cm © Artist Manolo Valdes 2013 PERA MUSEUM WELCOMES GREAT SPANISH MASTER MANOLO VALDES Pera Museum salutes the spring of 2013 with an extensive exhibition comprised of the paintings and sculptures of Manolo Valdés, one of Spain’s most important contemporary artists. As one of the founding members of Equipo Crónica, a pioneering movement in contemporary art established in 1964, Valdés started working solo and set his own distinctive style from 1981 onwards. Taking inspiration from ancient civilizations, old masters of the Spanish Golden Age such as Velázquez, Zurbarán, and Goya, and more recent artists such as Matisse, Picasso, Léger and Brancusi, as well as focusing on current themes, Valdés created fascinating works of art in the ensuing years. Having captured the attention of the art world through paintings he often executed with burlap and layered paint, as well as sculptures of metal, wood, and alabaster, Valdés left his imprint on contemporary art with his unique approach, rendition, and works. With his fresh take on the works and subjects from which he—self-admittedly—derives his inspiration, Valdés transforms a two-dimensional image into a three-dimensional one and lends the work a new identity. Comprised of 59 works, 46 paintings and 13 sculptures, focusing predominantly on the subject of the female, this exhibition will not only take art-lovers on a pleasant journey across Valdés’s rich and colourful world of imagination that extends from ancient civilizations to great masters of the past and present, but it will also draw considerable interest from art circles in Turkey and abroad. Pera Museum brought this exhibition to life over a period of two years in collaboration with Marlborough Gallery New York, one of the leading galleries in the world. We would thus like to take this opportunity to extend our heartfelt appreciation to the esteemed artist Manolo Valdés, the Marlborough Gallery New York management and staff, the Suna and İnan Kıraç Foundation Pera Museum team, as well as all other individuals and institutions that have contributed towards this project. Suna, İnan, & İpek Kıraç A A B CLOVER 2009 CLOVER 2009 ( DETAIL ) A CLOVER 2009 ( DETAIL ) ZURBARAN AS PRETEXT 1988 A A BUTTERFLIES V – 2011 PORTRAIT IN WHITE & RED 1999 PORTRAIT IN WHITE & RED 1999 ( DETAIL ) B PORTRAIT IN WHITE & RED 1999 ( DETAIL ) A A LADY ON HORSE B II – 2012 PORTRAIT IN BLUE & ORANGE 2010 TULIPS ON WHITE BACKROUND 2007 ( DETAIL ) TULIPS ON WHITE BACKROUND 2007 TULIPS ON WHITE BACKROUND 2007 A HELENE V, 2005 Etching and Collage Edition of 50 Dimensions: 165 x 96.5 cm © Artist Manolo Valdes 2013 A MANOLO VALDÉS 1942 Born in Valencia, Spain, on March 8th 1957 Entered the Real Academia de Bellas Artes de San Carlos de Valencia, Spain; left in 1958 to devote his life to painting 1964-81 Formed the group “Equipo Crónica” with Joan A. Toledo and Rafael Solbes; Toledo left the group after a year but Valdés and Solbes continued their association with “Equipo Crónica” until the death of Solbes in 1981. As a member of “Equipo Crónica,” Manolo Valdés participated in over sixty solo exhibitions and numerous group exhibitions. The artist lives and works in New York, USA and Madrid, Spain. AWARDS AND HONORS 1965 Biella Prize, Comune di Biella, Milan, Italy 1979 Silver medal, 2nd International Biennial of Prints, Tokyo, Japan Prize, Bridgestone Museum of Art, Lisbon, Portugal 1985 National Medal of Fine Arts, Government of Spain, Madrid, Spain 1986 Medal of the Biennial, International Festival of the Plastic Arts, Baghdad, Iraq 1993 Order of Andrés Bello Award, Honour Class, Caracas, Venezuela 1997 32nd Prize of the National Council, La Fondation Prince Pierre de Monaco, Monte Carlo, Monaco 1998 Gold Medal of Merit in the Fine Arts, Minister of Culture of Spain, Madrid, Spain 1999 Representative for Spain, International Art Exhibition, Venice Biennial, Venice, Italy 2000 The Spanish Association of Art Critics Award for Print, Madrid, Spain The Spanish Association of Art Critics Award for ARCO, Madrid, Spain 2002 The Spanish Association of Art Critics Award for Print, Madrid, Spain 2004 Valenciano Award of the 21st Century, Las Provincias, Valencia, Spain 2005 Order of Cultural Merit, Ordonnance Souveraine, Monte Carlo, Monaco 2006 Archival Award Spain 2005, Madrid, Spain Doctor Honoris Causa, University Miguel Hernández, Elche, Spain 2007 National Order of Merit, President of the French Republic, Paris, France 2010 International Medal of Community Arts of Madrid, Madrid, Spain
