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Enrique Martínez Celaya a Wasted Journey, a Half-Finished Blaze

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Enrique Martínez Celaya a Wasted Journey, a Half-Finished Blaze PRESS RELEASE: GALLERI ANDERSSON/SANDSTRÖM, UMEÅ Enrique Martínez Celaya A Wasted Journey, A Half-Finished Blaze Opening February 2nd, at 11-14 am. At 11.30 am U.S. Ambassador to Sweden, Mark Brzezinski will inaugurate the exhibition. Galleri Andersson/Sandström Umea is proud to present Umeå’s first exhibition of the work of the internationally renowned artist Enrique Martínez Celaya. An American-Cuban artist based in Miami, Martínez Celaya is represented in over 30 museum collections worldwide, including MOMA in New York, The State Hermitage Museum in St. Petersburg and the Moderna Museet in Stockholm. The exhibition "A Wasted Journey, A Half-Finished Blaze" showcases five new paintings and an impressive sculptural installation that fills the gallery in Umedalen. The main sculpture in this environment presents a bronze boy encrusted with large jewels crying onto a bed of pine needles. Aktrisgränd 34 S-903 64 Umeå +46 90 14 49 90 www.gsa.se /[email protected] His tears carve a channel through the beds as they cascade from one bed to the next. When they reach the last bed, the merger stream falls on a stack of dishes and pots reminiscent of what one might find in the sink of any house. The stream of tears never stops. Martínez presents a metaphorical, mystical world which resists a narrative and is elusive and open to one’s own interpretation. Martínez Celaya’s work uses everyday imagery heavy with symbolism, such as the solitary human figure in the landscape, the beds, animals and trees, often in an environment covered with white snow. This exhibition continues the artist´s exploration of the ideas he has been pursuing in the last decade: memory, suffering, longing for radiance, loneliness, and the possibility of art to be relevant to life. The artist was born in Cuba, but was uprooted at the age of six to Spain with his family. Three years later, the family moved again to Puerto Rico. The memory of these childhood experiences pervades his work. He is an intellectual artist who identifies with the work of Tolstoy, Nietzche and Schopenhauer. The Swedish Nobel prize-winning author Harry Martinson is a constant source of inspiration and Martínez Celaya´s long-standing fascination for the Nordic makes his debut in Umeå particularly exciting and relevant. Enrique Martínez Celaya (b. 1964) trained as artist and physicist, (he holds four patents in laser technology), works in painting, sculpture, video art, photography and also writes. His artistic projects push the boundaries of art, literature, philosophy, and religion. His work has been widely exhibited internationally and is included in the permanent collections of The Metropolitan Museum of Art, The State Hermitage Museum, the Whitney Museum of American Art and the Museum der bildenden Künste in Leipzig among others. Marínez Celaya is a Montgomery Fellow at Dartmouth College, was honored as the second Presidential Professor at the University of Nebraska and taught as a tenured professor in the faculty of Pomona College and Claremont Graduate University. He has received the National Artist Award from the Anderson Ranch Arts Center, the California Community Foundation Fellowship, the J. Paul Getty Trust Fund for Visual Arts, and the Young Talent Award from the Los Angeles County Museum of Art. Martínez Celaya founded “Whale and Star” in 1998, a publishing house that specializes in art and art's relationship to other intellectual and creative fields, especially literature and philosophy. For more information and images please contact [email protected]. Aktrisgränd 34 S-903 64 Umeå +46 90 14 49 90 www.gsa.se /[email protected] .
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    section M pages 3,5 | SUNDAY, MARCH 7, 2004 ARTS THE PRINCE OF DARKNESS Enrique Martínez Celaya illuminates absence and loss in his moody, murky paintings BOB EIGHMIE/HERALD STAFF BLACK HOLES: Above, the artist paints a mural mixed with his blood at the Museum of Art. Enrique Martínez Celaya favors stark and simple statements that evoke loss, like the empty boat in The Helper (Abruptness), top left, or the faint white outlines of father and son in Distance, top right. ART REVIEW BY ELISA TURNER [email protected] His paintings come from places where most of the lights have flickered and died. Looking at them, you feel as if you've stum- bled in from a leafy outdoors noisy with sunlight bouncing off cars and kids, having just pushed the door open onto a house boarded up for years. Other paintings can make you feel as if you've left a familiar kitchen, bright and busy with pots simmering and knives chopping, and then stepped into a living room just as the power fails, when arm chairs and family photos vanish into a chilly black hole. The heavy darkness in the paintings of Enrique Martínez Celaya can make you blink and squint. You want to peer into their light-devouring voids, trying to make out the telltale surroundings for his chalky white outlines of men, women, and children, trying to figure out where these hollowed-out families, MISERY IN MADRID who are really more phantom than flesh, belong. The tantalizing pleasures and secrets gingerly offered by this The absence of another subject dramatically shadowed his talk.
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