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Eduardo Arroyo È Stato Pre- Mediato Pensare Ricordando Messaggi” a prima cosa che viene im- complessa di riferimenti e di L’inquietudine di Arroyo è mani- Eduardo Arroyo è stato pre- mediato pensare ricordando messaggi”. festa anche nel fatto che, nel corso sente alla Galleria San Carlo Eduardo Arroyo (Madrid, 26 Contemporaneamente occorre della sua vita, esplorò diversi ambi- in diverse mostre personali: Lfebbraio 1937 – Madrid, 14 ottobre dire che, sebbene l’opera di Arroyo ti della creatività: oltre che scrittore 1992 Ritratti, Galleria San Carlo, 2018) è la sua libertà di pensiero, e sia intrisa impegno sociale e di de- e pittore fu anche scenografo tea- Milano. quindi anche di espressione. nuncia politica, e la sua militanza trale, grafico, scultore e ceramista. 1994 FIAC 94, Galleria San Carlo, Emigra a Parigi nel 1958 per via (per esempio nel maggio parigino Come scrisse Sebastiano Grasso Paris. della sua opposizione alla dittatu- del 1968) sia reale ed entusiastica, (Corriere della Sera – 22/08/2017 1995 Da Gutenberg a Madonna, Galleria San Carlo, Milano. ra franchista; in quegli anni la sua non scivola mai nella retorica della pag. 39 ed. Nazionale) “Arroyo è uno 1998 ARCO, Galleria San Carlo creatività si esprime nel mondo pittura militante, nel conformismo scrittore di favole moderne che si Milano. della scrittura; solo a Parigi co- dell’anticonformismo. muove in ambito urbano. Una sorta 2001 Personale Galleria San Carlo, mincia a dipingere, a tradurre in Stilisticamente le sue opere sono di Italo Calvino iberico, insomma. Milano. linguaggio visivo l’urgenza della prive di profondità e le prospettive Passione da un lato, ironia dall’altro. 2006 Fantomas all’inizio del XXI sua inquietudine, della sua prote- sono annullate, quasi lo spazio fos- Su questi due versanti, l’artista muo- secolo, Galleria San Carlo, sta, della sua provocazione. se un inganno della mente. La sua ve i suoi passi, manipola le immagi- Milano. Come ha scritto Martina Cor- è una ricerca originale e irrequieta ni dei mass media, coglie i ritmi del 2007 Don Chisciotte della Mancia di Miguel de Cervantes niati “L’affezione alle lettere, il fat- che si accorda alla convinzione che quotidiano, lasciandosi avviluppare illustrato da Eduardo Arroyo, to della scrittura ha fatto sì tutta- “il pittore deve sottomettere l’arte nel suo vortice. Il risultato? Una serie Galleria San Carlo, Milano. via che l’artista non rinunciasse del dipingere alla sua aderenza ide- di maschere coinvolgenti che ricor- mai a intendere l’arte come una ologica ai fatti”, come scrive negli dano Panama Al Brown, da Arroyo La Galleria San Carlo ha inol- tre esposto ed espone opere di forma di comunicazione e a in- anni Sessanta. E l’intelligenza e l’i- considerato un eroe contemporaneo Arroyo in numerose collettive. terpretare il quadro, ogni qua- ronia dell’uomo non maschera una nel senso omerico del termine, nel dro, come terminale di una rete riflessione malinconica e tormentata. senso joyciano”. ■ 1971 Palazzo del Governatore, Comune di Parma. Literatuhaus, X Semana lntemacional de las Eduardo Arroyo Galleria People, Torino. 1983 Leonard Hutton Galleries, Nueva York. Letras de Munich. L’ A.RC., Musée d’Art Moderne de la Ville de Paris, Galeria Alençon, Madrid. Principali Paris. 2000 Centre Cultural Contemporani Pelaires, Frankfurter Kunstverein. 1984 Guggenheim Museum, Nueva York. Palma de Mallorca. Esposizioni Frankfurt Hedendaagse. Plásticas 1982, Museo Español de Arte FIAC 2000, Galeria Metta, Paris. Kunst, Utrecht. Contemporaneo, Madrid. Galeria ColÓn XVI, Bilbao. personali in musei Museo Municipal de Santander. Munchener Kunstverein, Dusseldorf. 2001 Museo de Câceres. Kunstverein, Berlin. Galeria Pelaires, Palma de Mallorca. e fondazioni Galerie Mare Lasseaux, Mulhouse. Casa de la Provincia, Fundacion Andalucia Olimpica, 1972 Stadische Kunsthalle, Dusseldorf. Festival de Sevilla, cine y deporte, Séville. 1985 Nouvelle Biennale de Paris, Grande Halle de la FundaciÓn Circulo de Lectores, Barcelone. 1976 DAAD, Akademie der Kunste (con Grazia Villette, Paris. Eminente), Berlin. 2002 Circulo de Bellas Artes, Madrid. 1986 FundaciÓn Santillana, Madrid. 1978 En souvenir de Kreuzberg (con Grazia Eminente), Sala ParpallÓ, DiputaciÓn Provincial de Valencia. 2003 Arte español para el extraniero, Musée Ludwig, Fondation Nationale des Arts Graphiques et Budapest; Plastiques, Paris. 1987 Museum fur Kunst und Kulturgeschichte, Dortmund. Musée national d’Art de Roumanie, Bucarest; Festival d’Avignon (con Gilles Aillaud), Grande Salles du consulat d’Espagne, Saint Petersburg. 1982 Exposicion retrospectiva: Chapelle du Pala1s des Papes, Aviñon. Musée des Beaux-Arts, Dunkerque. Eduardo Arroyo, 1962-1982, 20 anos de pintura, Kunstverein, Ludwigsburg. Musée du dessin et de l’estampe originale, Salas Ruiz Picasso, Madrid. Gravelines. Centre Georges Pompidou, Musée National 1988 Musée Cantini, Marsella. Chapelle des Capucins, Aigues-Mortes. d’Art Moderne, Paris. Musée de Belfort. Galerie Louis Carré & Cie, Paris. Sala Provincia. Instituto leonés de Cultura, LeÓn. 1989 Eduardo Arroyo, obra grafica, Instituto Valenciano de Arte Moderno (IVAM), Valencia. 2004 Arte español para el extraniero, Musée National d’Histoire et d’Art, Luxembourg. 1991 Espace Fortant de France, Sète. Museo de Arte contempòraneo Uniòn Fenosa, La Corogne. 1992 El Ulises prohibido, Centro Cultural de Circulo de Lectores, Madrid. 2005 Sala de Exposidones Ignacio Zuloaga, 1993 Eduardo Arroyo, Carteles, Sala de Exposiciones, Papiers 1960-2005, Galerie Louis Carré & Cie, Paris. Huesca (catálogo razonado de 10s carteles) y Palacio 2006 Museu das Comunicaçoes, Lisbonne. de Sástago, Zaragoza Retratomatón. 2008 Instituto Valenciano de Arte Moderno (IVAM) 1994 Tamaño natural, 1963- 1993, Museo de Bellas Artes, Valencia. Bilbao. Eduardo Arroyo grabador, Museo Casa de la Moneda, 2009 Esculturas, Fundación Antonio y Cinia, Cerezales Madrid. del condado, León. Eduardo Arroyo Chimeneas y deshollinadores, La Biblia y El Cordero Místico, Centre Cultural de la Sala de Exposiciones, Bilbao. Fundació Cecle de Lectors, Barcelona. Arroyo, Boxeo y Literatura. Museu Valencià de 1995 Biennale de Venise. la Il-lustració i de la Modernitat (MuVIM), Valencia. Pabellon de Espana, 46° esposi zione d’arte, Biennale di Venezia, Venezia 2010 Arroyo, Boxeo y Literatura.Fundación Municipal de Cultura de Valladolid, Sala de los Franceses, 1996 La Suite Senefelder and Co, Museo de Bellas Artes Valladolid. de Bilbao, Bilbao. 2011 Pintar la Literatura. Es Baluard, Museo de Arte 1997 Knock-out, Musée Olympique, Lausana. Moderno y Contemporáneo de Palma de Mallorca. Da Napoleone a Carmen Amaya, Atelier dei Tadini Lovere - lago D’Iseo. 2012 Cine en el Picasso, Arroyo. Exposición individual Sombreros paro Alicia, aguofuer tes, DiputaciÓn proyección y debate del documental de 20 horas Provincial de Granata. sobre Eduardo Arroyo dirigido por Alberto Anaut, Eduardo Arroyo Dictionnaire impossible, Sala de lectura, Museo Picasso, Málaga. et Suite Senefelder and co, Galerie de l’Atelier Bordas, El Cordero Místico, Museo Nacional del Prado, Comptoir des Estampes, Paris. Madrid. Eduardo Arroyo Le Dictionnaire Impossible, 1998 Museo Nacional Centro de Arte Reina Sofia Madrid. galerie Catherine Putman, París. El exilio anterior, DiputaciÓn de Granada. Suite Senefelder and Co, Estampa 98 (Salon Intemacional del Grabado y Ediciones 2015 Arroyo y Balzac, Institut français de España, de Arte Contemporéneo), Casa de Campo, Madrid. Madrid. 1999 Museo de Arte de Lima, Perù et Museo universitario 2016 Eduardo Arroyo: The Swiss Chapters de ciencias y artes, México Suite Senefelder &. Co, Kunstmuseum Thun, Svizzera..
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