Days Gijon Film Festival. Now, therefore, projections from sunrise to sunset (or so we believe in the interior of the rooms: the sun is still there), some nachtwatch (few, gone the bodies ...) and almost total neglect of any other obligation or devotion. Including the log. I will update little by little, not too whore. First, Rafael Canogar to exhibit at Van Dyck; addition to the review appeared in New Spain just over a week, here's the text I wrote for the show's catalog.
Basa. Oil on canvas (162x130 cm.)
Of all the panelists El Paso, Rafael Canogar (Toledo, 1935) has been one of the most restless and given to the exploration of new languages \u200b\u200band formats in an ongoing attempt to tune with the times (the historical and artistic) that has often led to overflow beyond the painting itself. Now, half a century after the movement English art has reconciled with the spirit of the avant-Canogar his work opens in a new phase that is at once a return: the return to the territory of pure painting and formal autonomy values \u200b\u200bthat sustained the adventure of informality. So proclaims the work compiled in the individual areas of painting, which is, in turn, return the artist to the Art Gallery Van Dyck, four years after his first exhibition at Gijon.
"I think you touched upon to rescue the space of painting, regain their poetic and metaphorical dimension, their ability to delude ourselves, to fall in love, to vibrate again," says Canogar, which, perhaps drawing energy of nostalgia and even a certain weariness, reformulate the statement of principles into a pictorial language unprecedented in it: a formula that keeps an eye on its own past performance and put another in some records contemporary European painting. Thus, the components, the flat color and rough textures and irregularities of the previous stage are occupied or deleted by the presence of creamy masses of hair oil in which chance determines finally mixtures of color: a painting establishes a tense dialogue between intellectual rigor and sensuality of expression and in formats such as paper derives to an almost mystical spirituality. Canogar-all-states to "pick up the thread of the discourse of pure painting, nothing more than painting and communication skills."
(New Spain, supplement Culture, 18/11/1910)
fold. Oil / DM (162x120 cm.)
"Despídeme and my beloved country, because my mind wants return " / Odyssey
The history of the human imagination is filled with impossible comebacks. The Gilgamesh, that of Odysseus, that of Alonso Quijano, that of Leopold Bloom, the Ethan Edwards in The Searchers; thousands of others. The inability of all is emblematic of both physical and metaphysical question as biographical, but get back to the starting point, but we learned to reverse time, we can not and could erase the experience has passed, the only restores forgotten raw canvas each life at the cost of disease and devastation. Hence, in whom is aware of this, returning will be provided, while, another way forward, not stand still, by prohibiting their inertia or immobility. It
remember all this with the amazing and intense work that brings Canogar Rafael Gijón possible return-east, and compliment to Van Dyck, four years after his first solo exhibition in the gallery. And it should be noted that what she is not surprising intensity-that, as the spirit of adventure has been the custom in each of the many searches for this artist genetically uneasily but the way in which the painter has settled her back to the territories from which his journey began half a century ago.
And I stress: a painter. As he makes clear in the expressive text included in this catalog, the painting that went Canogar Ithaca also happens to be where you want to return this artist, like Odysseus, wandering and ingenuity multiforme. There may be understandable in its statement nostalgia for origins, and also stop reading between the lines a certain weariness of crossbreeding, ruptures generic expansions and thongs that avant-garde art and Canogar with him in the historical section correspondence that has been tested over the past century-plus. During this period, under the sign of anxiety exploratory painting itself has left in search of the three dimensions of sculpture or theatrical, is left to be invaded by the external world objects and attach prosthetics and extensions, has dispelled the aura and multiplied like any other consumer icon, has evaporated or has imploded to reduced the immateriality of the concept. And in some or perhaps all of these processes, I think that's what he wants to remind Canogar-is no longer painting and refused the gains that his generation won for the twentieth-century English art. Although what really counts in the case, regardless of written manifestos and possible interpretations, is how the play itself declares Canogar similar language in their own willingness to return to field laboriously won from the Impressionist revolution: a sovereign territory of plastic qualities, pure form, feelings and emotions encrypted and self-referential materiality of paint and its properties.
course that makes returning laden with the experiences of the journey. And who knows that, as is the case, also knows that any return is chimeric because our experiences not only change us, but change the past and make us strangers in it. While it is true that Rafael Canogar want today only paint and painting, the fact remains that his way of doing this features evidence completely unprecedented in its history, traits that denounce their attention to the different ways that you can return to painting in the early twenty-first century. It is not, therefore, to try and imposed, a nostalgic reunion with the informality and the English deep underground in El Paso, with the referrals of American roots lyrical abstraction, figuration urged by the pressures of history, the radical nature Support-Surface paint, or a mixture of expressionism and constructivism with which Canogar tightened his paintings in the hot eighties. This is a reunion with the painting itself from new positions. A new land use paint available. And a reminder (surely a self-reminder) that the soil still there, open, autonomous, available to the painter.
The shape Canogar to resettle in the native soil is based on the coexistence of two basic elements: space monochrome, naked and cold, and creamy stripes of hair and dragged oil whose sensual and random mixtures displayed color arranged in horizontal or vertical occupy, usually only part of the surface. In most cases, the relationship between these two elements are respectively the background and figure, medium and presence in other, share the canvas in a tense balance or reverse those roles, so that the dense expressiveness of oil is interrupted raked across the width of empty table for uniform color, hiatus of silence reminiscent of the strong building component of the previous stage of the artist. This dialectic leads to the minimum-and maximum stress at the edge of an almost mystical spirituality-on paper with black background scratched by the spectral traces of white oil.
A fund controlled, sober, carefully reduced to a uniform color, a strip of paste applied on it with childlike joy and energy in motion a long unpredictable results: these are the components of the new synthesis undertakes Canogar in this stage of its production with gestures that could well evoke those who first disciplined and thoroughly prepared the ground for planting and then with a sweeping gesture, release and spread the seeds in the hope that prosper in this case seeds fall between the rows of oil and paste between the lines of a plastic writing whose message is very similar to an "I'm back", but "I'm back" to build something new about the old and much-missed homeland. Because, as Rafael Canogar is aware, all Ithaca is always, inevitably, in some unreachable place of the future.
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