Juan Genovés Juan Genovés

September 13 - October 13, 2018

40 WEST 57TH STREET | NEW YORK | 10019 ILLUSTRATED ON THE COVER: 212 541 4900 | MARLBOROUGHGALLERY.COM Cortado, 2018, acrylic on canvas on board, 39 3/8 x 39 3/8 in., 100 x 100 cm JUAN GENOVÉS: AN ARTIST’S LIFE

by Armando Montesinos & Mariano Navarro

“Buddhists say that there are two moments of illumination in a day, one before falling asleep and the other upon waking up. In my case, that’s true, it happens to me. If it occurs before falling asleep, it’s annoying, because I have to get out of bed to capture the idea on a sheet of paper in order to be able to remember it the next day. But if it happens upon waking, it can sometimes be wonderful”. 1 Genovés’s assistant, Leonardo Villela, told us how that was a revelation for the artist: “A little over ten years ago he discovered that four o’clock in the morning was when he was at his best. He told himself: ‘Why should I stay in bed if I can go up to the studio and start painting right away.’ He usually paints his backgrounds at five in the morning. That’s the time of day he has no fear of the blank canvas” Thus begins the work routine that structures all the hours of the day. When he wakes up in the morning he works in solitude in his studio for four or five hours. Once his assistant arrives, he continues working until midday, when he takes a brief break, usually a walk through the neighborhood around his house in Aravaca in the suburbs of . After lunch and a short nap, he returns to the studio, where either he continues working on what he started in the morning, or he draws, exploring new series or ideas. Once the sun goes down, he reads. In the nearly twenty years since the turn of the century, Juan Genovés has devoted himself almost entirely to his creative work. He has not turned away from his political ideas and activism of the four previous decades, but he has scaled back the amount of time he devotes to them daily. Genovés, who was born in 1930 and endured the Spanish Civil War as a child, was an active opponent of General Franco’s dictatorship, with all of the danger associated with that position. After the dictator’s death, Genovés’s contributions to ’s democratic renaissance were exemplary. He worked tirelessly from the late nineteen seventies to establish cultural institutions and associations. Today, Juan Genovés is an icon of civic engagement for many generations of Spaniards, including the youth involved in new social movements. His work so far this century places him squarely in the company of those great artists whose longevity in no way diminished the quality of the work that made them famous. On the contrary, De Kooning, Cy Twombly, Antóni Tàpies or Jasper Johns, just to name an illustrious few, remained utterly contemporary, both in their discourse and in their spirit of exploration, all the while creating at a pace that belied their ages. “My latest pieces are no less intense because I am working against time. To be able to cause the viewer to confuse the “normal” with that which is not, with the addition of what is “thought out”— making it appear to be by chance, when it is not: digging deep into what lies hidden in the canvas, provoking discoveries.”

1. Unless otherwise specified, the quotations are those of Juan Genovés. They are excerpted from a conversation that took place specifically for this catalogue. It was one among the many that the authors, along with Alicia Murría, had over the past two years with the artist and the people close to him, in order to write an extensive biography of the artist, soon to be published in Spain.

Termodinámica, 2017, acrylic on canvas on board, 98 3/8 x 70 7/8 in., 250 x 180 cm Genovés achieved worldwide recognition in the mid-nineteen sixties with his paintings of crowds, In this exhibit, composed chiefly of works dated from last year, there is a collection of paintings– or “multitudes”. Those works explored images of escape, surveillance, and repression… they were Entropía, Termodinámica, Distante, Conexo, Desviaciones, and Fusión – in which the crowd gathers within or scenes dominated by fear. The crowds were seen, more often than not, as if through the telescopic moves through a large central void, which is, at the same time, an area of pure color play. In Fusión, sight of a gun, or from a distance, through a camera’s lens, giving them an unmistakably cinematic a large diptych, there is a space resembling a bullring, an arena, and something is happening there. quality. Why are the figures still? What are they waiting for, frozen before a sacred site, yet also an empty space, inhabited only by color? Alicia Murría characterized that seminal period very well: “Genovés adopted some of the strategies of Pop art such as references to mass media and film, the use of images taken from the “In a given situation, people grouped together create a kind of shelter. We gather to defend press, and techniques such as the use of spray paint, stamps, and stencils that enabled him to repeat ourselves, to recognize ourselves, to be one among many. When we find ourselves engulfed in or multiply a given motif. That motif was almost always the human figure, at times reminiscent of a crowd, we always feel, albeit in different ways, that we are here, alive — and in the face of the Eadweard Muybridge’s studies of the figure in motion. He incorporated those resources into his unknown, the mystery of being alive, we know that we are not alone. Up against the anguish of work, creating a language in which the loneliness of the modern individual blended with intense loneliness, there is an almost electric feeling in gathering together in a group, something special scenes of repression, torture, and violence that alluded to the political situation in Spain.” 2 and surprising when you ask yourself what you are doing there, in that moment. I am yelling, I am singing, I am running, happy or fearful, terrified, in spite of myself, and so many things that are Those harsh paintings, in black and white or earth tones that reflected that dark period and its unimaginable in the realm of reason.” deprivations of freedom, have given way in recent years to works where color prevails. These works embody a certain metaphysics of beauty, in which the artist’s joy in his work can be sensed. They “Sometimes, as if someone were whispering to me, I hear the murmur of the crowd, their are the fruits of a full life. cries, their rhythms. Oh, happiness! Those are glorious moments; I paint and paint, calmly, and time flies. On the contrary, when the surface is calling to me and I do not understand what it is His tireless exploratory spirit is always able to bring forth discoveries that engage and appeal to saying, annoyance and anger take over. ‘This looks like it’s going nowhere, best to abandon it,’ I the viewer. The bird´s eye view in almost all of the paintings no longer implies that surveilling or tell myself. But I am obsessed, I keep trying and trying to resolve the painting, and the result is repressive gaze. Rather, it is a different, omniscient point of view, one that contemplates everything dreadful.” that is occurring. It is a narrative gaze, more neutral, but never indifferent. What is it telling us? “It is important to follow the painting’s tempo. Some paintings demand haste, others are lazy, “Throughout the history of art, painters saw what lay in front of them. However, as everyone and require slowness and calm. That tempo emerges out of the process, and the canvas tells me knows, a single finger can block out the sun. What is right in front of you can obscure so many as I go along, sometimes it yells it at me, other times, little by little, it guides me. The work is in things, so I thought it better to look from above, in order to find clarity. Who knows, I may have charge. It does no good to get ahead of oneself, one has to have confidence, perseverance, and to been influenced by my fondness for soccer, whose beauty can be best appreciated when seen from forge ahead, aware of the here and now, step by step.” above. When it is seen at ground level, almost everything is hidden — the players all block each other from view.” This exhibit is a collection of pieces characterized by sumptuous color play on backgrounds of particular chromatic and physical richness. This can be seen in Asentamiento, with its heavily worked Often, when Genovés comes home from having seen a soccer match in his native , where aqueous green and small areas in relief, also visible in Embarrados. In both, intriguing variations are he frequently goes, he brings dozens of photographs of the people entering or leaving the stadium present in the composition and structure of the crowds. Perhaps the principal defining trait of all home with him. Arranged in different ways, these images are the seeds for many of his paintings. of these paintings is the exuberance of the individualized treatment of the dozens or hundreds of human figures that populate them. “Just as the beauty of soccer is revealed to me by watching it from the upper stands, I also have the crowd, before or after the game, seen from above. The people, grouped in the same way as they Leo Villela tells us: “It was in 2005 that he began to make the figures using just one color, and are on the canvas, speak to me; they have a language of their own. It is intriguing visually to see how a large amount of modeling paste. He then began to transform them into elements with greater things change as they exit. Depending on if the game was lost or won, it is totally different. When I volume, more complex and varied. We have a lot of bottles in the studio, full of acrylic gel. That have it in photographs, I can then study it in peace. This search for sensations is thrilling to me.” is what provides the volume. The gel can be opaque or transparent, and it comes in every color imaginable. He mixes it, and then he incorporates many little details from his walks on the beach “I think that everyone understands the language of photography. I’ve been working with this in Valencia, small shells, bones, and sand. We also collect buttons and everything that we find. We language for a long time, but disguised, saying things that cannot be said with photography — the have several boxes with all kinds of beads. variety of materials, texture, false perspective, and all of the discoveries that I make along the way. I am like a hunter, tirelessly going after his prey.” “He has a process of working directly on the canvas…objects that are gathered, odds and ends, wires. Today, for example, he came up with a new way to paint legs. He got a clip, tied it with tape to the wooden handle of a paintbrush, and created the structure of a fountain pen. He wet the little

2. Alicia Murría, “Juan Genovés, pintor de los conflictos humanos”, catalogue Juan Genovés. Multitudes, Museo MAC, A Coruña, 2015, p. 55.

4 5 tip of the clip and started painting the legs. We’ve been doing that this morning; he is improvising Mikado makes reference, perhaps, to the game of pick-up sticks. There is a festive quality to it. It as he goes along. Juan is always changing his creative process. He rarely repeats the same technique. is as if some of the figures were projecting beams of light, which are in fact narrow white areas that He loves to experiment with materials, shadows, modeling paste, to create more volume. It is a connect those figures to each other. playful environment. Juan has fun as he works, it nourishes and entertains him.” In Propiedades, the figures are arranged on a group of irregularly shaped geometric spots that in “Culture is play”, Genovés asserts. “It is the only activity that connects us to animals. To play is some instances contain a meandering thread. It is the piece in the exhibit with the most obvious to learn, to stop playing is to give up.” social meaning. The property owners lay claim to their scraps of territory, while the poor are left to wander through the unoccupied spaces. Each of them is in their “place”, on their own lawn or “Starting when I was very small, my father used to give me a visual test: he would scribble property, while a handful of the deprived roam through the desolate spaces that lie between them. something instinctively on a sheet of paper and then hand it to me, saying: ‘Let’s see what you make of it.’ I was crazy about that experiment. I would follow him around, begging him, ‘Scribble In Terrenal, a diagonal slash on the upper edge of the canvas creates both the notion of a boundary for me!’ Those scribbles my father made had a life of their own. So, that is emblazoned in my and a dark abyss. It is not clear if the people are fleeing from it or running toward it. And finally, memory. I follow my assistants around asking them to make a “scribble” (a background) for me, in Umbral and Vaivenes there are backgrounds that, in contrast to Asentamiento, delineate the places so that I can then alter it, sometimes completely. It gives the illusion of not starting from a blank and pathways where the figures wander about. space and lets my imagination run wild, as in a dream. It embodies two concepts for me, existence and representation. I think that objects and textures on canvas are capable of reflecting on their When we convey our admiration to Genovés for his command of drawing and different painting own, freeing themselves from the spectator and carrying on their own conversation.” techniques, his response to us is swift, but considered, “At the same time that I am painting, I am getting used to the passage of time. I am studying the aging processes in myself. Being curious, as “In the realm of visual art, each element is not limited to one function alone, rather it has I have always been, I am constantly examining and surprising myself.” many. For me, the little figures fulfill the missions of realism and humanity, in that they represent how we are all the same, but also different. Visually, they occupy points in space. Any grouping in “Vivid memories of my childhood and youth, when I was first learning to draw and discovering space that occurs by chance indicates “normalcy” to the eyes of the spectator. But if we add one or painting, come to my mind regularly,” the artist remarks. “Memories that I had forgotten reappear, more elements to modify it, it immediately becomes “false” for the viewer. For me, that presents a and I make them current, and introduce them into the present moment as a new sensation. They problem. I am learning to modify the “normal”, without what is “false” becoming apparent. I use are difficult for me to explain, because they are visual sensations, and language comes up short what is called VP3 in three point perspective: it is the third vanishing point, where the verticals when it comes to expressing what the eyes see. The very idea of them is in a visual language. How vanish; but I lay traps, in which the illusion is not apparent, and therefore, appears to be real. can I describe my excitement upon discovering ‘that little mound that gets thicker when I add However, I am certain that these elements have other functions which I have yet to discover. I have pigment to it, and that gets picked up with the brush as a either a damp droplet or a semi-dry always been a collector of “found objects”. They thrill me, and I have thousands, which I use with droplet’? It sounds silly, because it has nothing to do with those words, it’s just an example, but it pleasure.” is a collection of wordless illusions: mute, yet resounding.”

The cast shadow is a very important element in those figures. Each figure is anchored in an At the end of our conversation, the artist tells us: “If I look back, I see myself as old, but if I look undefined space by its unique shadow. In using this technique, Genovés is linked to Velázquez, in forward, into the present, I see myself as young as ever. Are we what we remember? Are we what we whose paintings we see the same approach, as in El Infante Don Carlos or Pablo de Valladolid. forget? Maybe I am not so content, because I want to paint more and more.” And he smiles that smile that we know so well. “I am aware of having lost the treasure that was my childhood mind. That expansive, luminous, optimistic child’s gaze; children have no awareness of the shadow. I lost that gaze when I encountered the shadow, when I started to think about it. My discovery was so important to me, and I talked about it so much, that my classmates started using the nickname ‘Sombra’ for me. That was when I landed in the prison of culture, and I am still behind those bars.” In every Juan Genovés exhibit, there is a group of works that set out to explore directions not touched upon previously. In our opinion, that is the case in this exhibit with Catafalco. It is a mid- sized painting which, through the use of black lines and white surfaces, builds what appears to be a structure that is seen from a disorienting perspective, making it behave like a kind of visual trick. That false edifice, with a grid that simulates a vertical ascent, is crowned by a solitary individual. It is a structure, suggesting perhaps power, superimposed on reality.

6 7 Mikado, 2017, acrylic on canvas on board, 51 1/8 x 63 in., 130 x 160 cm

9 Terrenal, 2016, acrylic on board, 70 7/8 x 98 3/8 in., 180 x 250 cm

11 Axioma #1, 2018, acrylic on canvas on board, 39 3/8 x 39 3/8 in., 100 x 100 cm

13 Catafalco, 2017, acrylic on canvas, 39 3/8 x 39 3/8 in., 100 x 100 cm Disperso, 2018, acrylic on canvas, 39 3/8 x 39 3/8 in., 100 x 100 cm

14 15 Propiedades, 2017, acrylic on canvas on board, 59 x 70 7/8 in., 150 x 180 cm

17 Umbral, 2017, acrylic on board, 63 x 51 1/8 in., 160 x 130 cm Vaivenes, 2017, acrylic on board, 47 1/4 x 59 in., 120 x 150 cm

18 19 Joli, 2017, acrylic on canvas on board, 39 3/8 x 39 3/8 in., 100 x 100 cm

21 Fusión, 2017, acrylic on canvas on board, each panel: 82 5/8 x 63 in., 210 x 160 cm

23 Asentamiento, 2017, acrylic on board, 51 1/8 x 63 in., 130 x 160 cm

25 Distante, 2017, acrylic on canvas on board, 39 3/8 x 39 3/8 in., 100 x 100 cm Desviaciones, 2017, acrylic on canvas on board, 70 7/8 x 59 in., 180 x 150 cm

26 27 Movimiento, 2017, acrylic on nylon, 63 x 51 1/8 in., 160 x 130 cm Septimo, 2017, acrylic on canvas on board, diameter: 78 3/4 in., 200 cm

28 29 Entropía, 2017, acrylic on canvas on board, 82 5/8 x 63 in., 210 x 160 cm

31 Tramado, 2017, acrylic on board, 31 1/2 x 23 5/8 in., 80 x 60 cm Persisten, 2018, acrylic on board, 78 3/4 x 59 in., 200 x 150 cm

32 33 Vislumbre, 2017, acrylic on canvas on board, diameter: 78 3/4 in., 200 cm Vacio, 2017, acrylic on canvas on board, 59 x 47 1/4 in., 150 x 120 cm

34 35 Embarrados, 2017, acrylic on canvas on board, 82 5/8 x 63 in., 210 x 160 cm

37 JUAN GENOVÉS

Born in Valencia, Spain, on May 31st, 1930 Centre National d`Art Contemporain, Paris, France Instituto Cultural Juan Gil Albert, Alicante 2009 Recent Paintings, Marlborough Gallery Chelsea, New Nationalgalerie, Staatlische Museum zu Berlin, Germany Instituto Valenciano de Arte Moderno (IVAM), Valencia York The artist lives and works in Madrid, Spain. Neue Galerie der Stadt, Aachen, Germany Museu d`Art Contemporani dels Països Catalans, Banyoles, Recent Paintings, Marlborough Fine Art London, London, England. Kulturministerium Badem-Württemberg, Stuttgart, Germany Gerona, Cataluña Museo de Arte Contemporáneo de Ayllón, Segovia PUBLIC COLLECTIONS Museum fur Moderne Kunst, Frankfurt, Germany 2007 Recent Paintings, Marlborough Gallery New York, New Museo de Arte Contemporáneo de Cáceres, Cáceres York UNITED STATES Museum Boymans-van Beuningen, Rotterdam, Holland Museo de Arte Contemporáneo de Vilafamés, Castellón Galería Marlborough Madrid, Madrid, Spain Museo de Arte Contemporáneo Patio Herreriano, Valladolid Museo Salvador Victoria, Rubielos de Mora, Teruel, Museo de Arte Contemporáneo Unión Fenosa, La Coruña Spain. Andrew Dixon White Museum, Ithaca, New York The Israel Museum, Jerusalem, Israel Museo de Bellas Artes de Álava, Álava 2006 Retrospectiva, Centro de Arte Palacio Almudí, Murcia, Arkansas Arts Center, MacArthur Park, Little Rock, Arkansas Spain Museo de Bellas Artes de Valencia, Valencia Carnegie Museum of Art, Pittsburgh, Pennsylvania Galeria Nazionale d`Arte Moderna, Rome, Italy 2005 Galería Punto, Valencia, Spain Museo de Cuenca, Cuenca Hirshhorn Museum and Sculpture Garden, The Smithsonian Pintures, dibuixos i escultures (1994-2004), Fundación Institution, Washington, DC Nagasaki Prefectural Art Museum, Nagasaki, Japan Museo de Santa Cruz de Toledo, Toledo Bancaja, Valencia, Spain Madison Art Center, Madison, Wisconsin Museo del Ayuntamiento de Valencia, Valencia Obra reciente, Galería Marlborough Madrid, Madrid, Spain Minneapolis Institute of Arts, Minneapolis, Minnesota Museo de Arte Moderno, Mexico City, Mexico Museo Municipal, Madrid 2003 Caminos, Arte y Naturaleza, IVAM, Valencia, Spain Nelson-Atkins Museum of Art, Kansas City, Missouri Museo Nacional Centro de Arte Reina Sofía, Madrid Museo Rufino Tamayo, México City, Mexico Sueños y Secuencias, Centro Cultural Isabel de Farnesio, Ohio University College of Fine Arts, Athens, Ohio Museo de Elche, Elche Aranjuez, Madrid, Spain Pérez Art Museum Miami, Florida Museo de Arte Contemporáneo, Managua, Nicaragua Palacio de la Moncloa, Madrid Fundación CIEC, Betanzos, La Coruña, Spain The Art Institute of Chicago, Chicago, Illinois Museo Itinerante, Nicaragua Patrimonio Nacional del Estado Español, Madrid 2002- Pinturas (1963-2002) The Museum of Modern Art, New York, New York 2003 Museo Provincial de Jaén, Jaén, Spain The Solomon R. Guggenheim Museum, New York, New York Muzeum Lódz, Lódz, Poland Centro Cultural Fundación Caja de Granada, SELECTED SOLO EXHIBITIONS Granada, Spain Worcester Art Museum, Worcester, Massachusetts Muzeum Narodowum, Wroclaw, Poland Centro Cultural de Almería, Almería, Spain 2018 La intensidad del silencio, Museo Patio Herreriano de 2002 Galería Italia, Alicante, Spain South African National Gallery, Cape Town, South Africa Valladolid, Valladolid, Spain. Galería Barcelona, Barcelona, Spain INTERNATIONAL Pretoria Art Museum, Arcadia, Pretoria, South Africa Irreversible, obra gráfica reciente, Galería Retrospectiva (1992-2002), Sala Antonieta Rivas Marlborough, Barcelona, Spain. Mercado, Museo de Arte Moderno, México DF Museo Internacional Arte Contemporáneo, Guinea, Africa Museo de Bellas Artes de Caracas, Venezuela 2017 Aledaños, obra gráfica reciente, Galería Marlborough 2001 Galería Pedro Torres, Logroño, La Rioja, Spain Madrid, Spain. Pequeño formato, Galería Marlborough Madrid, Madrid, Power Gallerie of Contemporary Art, University of Sydney, 2016 Juan Genovés: Recent Paintings, Marlborough Gallery, Spain New York Galería Punto, Valencia, Spain Sydney, Australia SPAIN Juan Genovés. Ir y volver, Galería Aurora Vigil Galería Ármaga, León, Spain Escalera, Gijón, Asturias, Spain. Museum Moderner Kunst, Vienna, Austria Genovés. Peintures 1960-2001. La Bellevue Biarritz, Asamblea de Madrid, Madrid Multitudes en transformación, Galería Art Nueve, Biarritz, France Murcia, Spain. Centro-Museo Vasco de Arte Contemporáneo/ARTIUM, Vitoria- 2000 Sequências Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium Gasteiz Multitude,. Centro Cultural Las Claras Cajamurcia, Murcia, Spain. Galería Dos Coimbras, Braga, Portugal Colección Amigos del Centro de Arte Reina Sofía, Madrid, Spain 2015 Juan Genovés: Multitudes, Museo de Arte Museo de Arte Contemporáneo Unión Fenosa, La Museu de Arte Moderno, Río de Janeiro, Brazil Colección Argentaria, Madrid Contemporáneo Gas Natural Fenosa, MAC, La Coruña, Coruña, Spain Colección de Arte del Siglo XX, Alicante, Spain Spain. Pinturas 1960-2000, Galería Marlborough Madrid, Madrid, Spain Montreal Museum of Fine Arts, Montreal, Canada Colección Bancaixa, Valencia 2014 Juan Genovés: Recent Paintings, Marlborough Fine Art, London, England 1999- Genovés, Secuencias (1993-98) y Sueños (1995-969) Colección de Arte Contemporaneo Fundación “la Caixa” (Obra Social), Barelona, XXVII Biennale des Antiquaires de Paris, Grand Palais, 2000 Museo de Nacional de Bellas Artes, Buenos Aires, Museo de la Solidaridad Salvador Allende, Santiago de Chile, Paris, France Argentina Chile Colección Caixa d`Estalvis, Valencia, Spain Anar i torna, Galería Marlborough, Barcelona, Spain. Museo Nacional de Artes Visuales, Montevideo, Colección Caja Madrid, Madrid 2013 Crowds, Centro del Carmen, Valencia, Spain. Uruguay Museo de Arte Moderno, Bogotá, Columbia Colección Caja Murcia, Murcia Crowds. À cent mètres du centre du monde, Centre d’Art Fundação Bienal de Artes Visuais do Mercosul, Porto Colección Generalitat Valenciana, Valencia Contemporain, Perpignan, France Alegre, Brazil Museo Nacional de Bellas Artes de La Habana, Havana, Cuba Obra reciente, Galería Marlborough Madrid, Madrid, Museo de Arte Contemporaneo Sofia Imber, Caracas, Congreso de los Diputados, Madrid Venezuela Fundación AENA, Madrid Spain. 2012 Marlborough Gallery New York, New York Museo de Arte Moderno, Santo Domingo, Dominican Sainsbury Center for the Visual Arts, Norwich, England Fundación Caja de Granada, Granada, Spain Republic A retrospective, Naples Museum of Art, Naples, Florida Fundación Juan March, Madrid Museo de Arte de Lima, Lima, Peru 2011 Galería Mayoral, Barcelona, Spain. Taidehalle Ateneum, Helsinki, Finland Fundación Marcelino Botín, Santander Centro Wilfredo Lam, Havana, Cuba

38 39 1999 Secuencias, Sala Robayera, Ayuntamieto de Miengo, Sala Municipal de Exposiciones, Alaquàs, Valencia, Cantabria, Spain Spain Silencio, Silencio 1970. Galería Marlborough Madrid, Museo Etnológico Municipal, Valencia, Spain Madrid, Spain Museo de Albacete, Albacete, Spain NEW YORK / MADRID / 1998 Marlborough Gallery New York, New York MARLBOROUGH GALLERY, INC. GALERÍA MARLBOROUGH, S.A. 1982 Galería Rayuela, Madrid, Spain 40 West 57th Street Orfila, 5 Caja de Ahorros Municipal de Pamplona, Pamplona, Museo de Arte Contemporáneo, Cáceres, Spain New York, NY 10019 28010 Madrid Spain Palacio de la Lonja, Zaragoza, Spain Telephone 212.541.4900 Telephone 34.91.319.1414 Galería Punto, Valencia, Spain Fax 212.541.4948 Fax 34.91.308.4345 Colegio de Arquitectos, Murcia, Spain www.marlboroughgallery.com www.galeriamarlborough.com Sala García Castañón, Pamplona, Spain 20 años de Pintura (1962-1982) [email protected] [email protected] 1997 Secuencias 1996-97, Galería Marlborough Madrid, Madrid, Spain Centro Cultural de la Villa de Madrid, Madrid MARLBOROUGH GRAPHICS BARCELONA / Galería Punto, Valencia, Spain Salas del Ayuntamiento de Valencia, Valencia, Spain 40 West 57th Street MARLBOROUGH BARCELONA 1981 Galería Theo, Valencia, Spain New York, NY 10019 Enric Granados, 68 Secuencias Telephone 212.541.4900 08008 Barcelona Tardor Cultural 97, Sala Quatre Cantons, Vilafamés, Sala de Exposiciones del Ayuntamiento de Logroño, Fax 212.541.4948 Telephone 34.93.467.44.54 Spain Logroño, La Rioja, Spain [email protected] Fax 34.93.467.44.51 Galería Yerba, Murcia, Spain Centro Municipal de Cultura, Ayuntamiento de MARLBOROUGH CONTEMPORARY SANTIAGO DE CHILE / Castellón, Castellón, Spain Galería Cuatro, Valencia, Spain 545 West 25th Street GALERÍA A.M.S. MARLBOROUGH 1996 Galería Varrón, Salamanca, Spain 1980 Marlborough Gallery, New York, New York New York, NY 10001 Avenida Nueva Costanera 3723 1977 Galería Arte-Contacto, Caracas, Venezuela Telephone 212.463.8634 Vitacura, Santiago, Chile 1995 Galería Marlborough Madrid, Madrid, Spain Fax 212.463.9658 Telephone 56.2.799.3180 Galería Barcelona, Barcelona, Spain 1976 Marlborough Gallery AG, Zurich, Switzerland www.marlboroughcontemporary.com Fax 56.2.799.3181 1994 Fundación Marcelino Botín, Santander, Spain 1974 Galería Alcoiarts, Altea, Alicante, Spain [email protected] Galería Arte-Contacto, Caracas, Venezuela Sala Pelaires, Palma de Mallorca, Spain 1993 Antológica, Instituto Valenciano Arte Moderno (IVAM), 1973 Marlborough Gallery New York, New York LONDON / Centre Julio González,Valencia, Spain Marlborough-Godard Gallery, Toronto, Canada MARLBOROUGH FINE ART LTD. Important Works available by: Galería Punto, Valencia, Spain 6 Albemarle Street Marlborough-Godard Gallery, Montreal, Canada London W1S 4BY Twentieth-Century European Masters; Sala Luzán, Caja de la Inmaculada (CAI), Zaragoza, Galería Vandrés, Madrid, Spain Telephone 44.20.7629.5161 Post-War American Artists Spain Galería Val i 30, Valencia, Spain Fax 44.20.7629.6338 1992 Palacio Revillagigedo, Gijón, Asturias, Spain www.marlboroughfineart.com 1972 Fundación Eugenio de Mendoza, Caracas, Venezuela [email protected] 1991 Galerie Patrice Trigano, Paris, France Museo de Arte Moderno, Bogotá, Columbia Retrospectiva, Fundación Caixa Galicia, La Coruña, Museo Boymans-van-Beuningen Museum, Rotterdam, MARLBOROUGH GRAPHICS Spain The Netherlands 6 Albemarle Street London W1S 4BY Retrospectiva, Sala José María Fernández, Málaga, 1971- Genovés Spain Telephone 44.20.7629.5161 DESIGN / Dan McCann 1972 Frankfurter Kunstverein, Frankfurt, Germany Fax 44.20.7495.0641 Retrospectiva, Museo de San Telmo, San Sebastián, Haus am Waldsee, Berlín, Germany [email protected] PHOTOGRAPHY / Leonardo Villela Spain 1990 Galería Barcelona, Barcelona, Spain Württembergischer Kunstverein, Stuttgart, Germany MARLBOROUGH CONTEMPORARY Stadtische Kunsthalle, Recklinghausen, Germany 6 Albemarle Street, London, W1S4BY PRINTED IN NEW YORK BY PROJECT 1989 Centre Municipal de Cultura, Alcoi, Alicante, Spain Telephone 44.20.7629.5161 Galería del Coleccionista, Madrid, Spain 1969 Tokyo Gallery, Tokyo, Japan [email protected] Galería Punto, Valencia, Spain Marlborough Galleria d’Arte, Rome, Italy www.marlboroughcontemporary.com 1987 Galería Altxerri, San Sebastián, Spain Galleria La Bussola, Torino, Italy 1986 Galería Quintana, Bogotá, Colombia 1967 Marlborough Fine Art London, London, England 1985 Galería Punto, Valencia, Spain Marlborough-Gerson Gallery, New York, New York Museo de Albacete, Albacete, Spain 1966 Museo de Bellas Artes y Arte Moderno, Bilbao, Spain 1984 Urban Landscapes, Marlborough Gallery New York, 1965 Galería Relevo, Copacabana, Río de Janeiro, Brazil New York Sala Dirección Generales de Bellas Artes, Madrid, Spain 1983- Genovés. Retrospectiva 1962 Galería Diario de Noticias, Lisbon, Portugal © 2018 Marlborough Gallery, Inc. 1987 Sala de Exposiciones La Caixa, Valencia, Spain 1960 Ateneo de Madrid, Madrid, Spain ISBN 978-0-89797-510-0 Agrupación del Partido Comunista del País 1958 Ateneo Puertorrigueño, San Juan, Puerto Rico Valenciano y España, Benicalap, Valencia, Spain 1957 Galería Alfil, Madrid, Spain Ayuntamiento de Buñol, Valencia, Spain Palacio de Bellas Artes, Havana, Cuba Sala Municipal d’Exposicions, , Valencia, Spain Casa de la Cultura, , Valencia, Spain Sala d’Exposicions Quart de Poblet, Valencia, Spain

40 Juan Genovés September 13 - October 13, 2018

40 WEST 57TH STREET | NEW YORK | 10019 212 541 4900 | MARLBOROUGHGALLERY.COM