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Programa De Mano Nuevas Imagenes PINTURA PAINTIN G ALFONSO ALBACETE ? IRMA ÁLVAREZ-LAVIADA MARTA CÁRDENAS MENCHU LAMAS CARLOS LEÓN JUAN UGALDE 19 > 25 FEBRERO / FEBRUARY 2018 ÁMBITO CULTURAL - EL CORTE INGLÉS C/ PRECIADOS, 3. MADRID PINTURA PAINTIN G ALFONSO ALBACETE ? IRMA ÁLVAREZ-LAVIADA MARTA CÁRDENAS MENCHU LAMAS CARLOS LEÓN JUAN UGALDE Comisario / curator ALFONSO DE LA TORRE ÁMBITO CULTURAL - EL CORTE INGLÉS MADRID, 2018 Initially begun in 2005, this is now the fourteenth year of ÁMBITO CULTURAL , the contemporary art programme run by EL CORTE INGLÉS to coincide with the ARCO madrid art fair. These interventions are supported by the City Council of Madrid, the government of the Region of Madrid and Promoción del Arte (under the aegis of the Ministry of Education, Culture and Sports), and is now widely considered a classic annual event, indelibly associated with the time of ARCOmadrid and also with the streets of Madrid. ¿PINTURA? / PAINTING?, the title of this year’s programme, poses a question only to immediately confirm the eternal energy of painters. Taking part are: Alfonso Albacete (Antequera, 1950); Irma Álvarez-Laviada (Gijón, 1978); Marta Cárdenas (San Sebastián, 1944); Menchu Lamas (Vigo, 1954); Carlos León (Ceuta. 1948) and Juan Ugalde (Bilbao, 1958). Does the concept of painting-painting still make any sense, the curator asks us, or, will painting survive into the future? He also explains that this is an exercise in addressing what sustains creativity today or, according to the ARCOmadrid’s proposal for this year on the future of art, “to imagine, produce and propose a vision of the complexity that lies in wait for us.” As pointed out in the foreword by the Ministry of Education, Culture and Sports – Promoción del Arte, this proposal would seem pertinent given that “we are now witnessing a reawakening of interest in this expression of plastic art, and also a desire on behalf of the art community to shift its attention towards painting, as a technique able to express new ideas. This return is taking place without any competition between the various different lines of expression it takes. Rather the opposite is true, and for the artists now practicing painting, ephemeral gestures and immaterial actions are a kind of necessary reflexive preamble for their new proposals.” This ephemeral contemporary art programme is largely owing to two early projects of artist interventions in Europe: taking place in 1963 and 1965 in Barcelona and Madrid, in the shop windows of the department stores which were then recreated in two re-editions in 2005 and in 2014. The artists taking part in 1963 were Manrique, Millares, Rivera, Rueda, Sempere and Serrano (re-edited in 2005). And the artists taking part in 1965 were Guinovart, Hernández Pijuan, Ràfols Casamada, Subirachs, Tharrats and Todó (re-edited in 2014). Over the years ÁMBITO CULTURAL ’s programmes have always been underpinned by a central theme revolving around various issues of concern within contemporary art. “SEIS ESCAPARATES” (2005); “ESPACIOS IMAGINADOS” (2006), “PINTURA-PINTURA” (2007); “EN TORNO A LO TRANSPARENTE” (2008); “OBJETO-SIN OBJETO” (2009); “CIUDADES-CITIES” (2010), “OTRAS NATURALEZAS” (2011); “LIGHTHOUSE” (2012); “THE FIFTIES” (2013); “PRE-POP/1965” (2014); “ON COLOUR” (2015), “LOS OTROS ARTISTAS” (2016); and, last year, “ NUEVAS IMÁGENES” . In passing, we also ought to mention the seventy or so artists who have taken part in the El Corte Inglés-Ámbito Cultural interventions since 2005: Alfredo Alcaín, 2017; José Luis Alexanco, 2016; Chema Alvargonzález, 2006; José Ramón Amondarain, 2007; Eugenio Ampudia, 2012; Eduardo Arroyo, 2007; José Manuel Ballester, 2006; Miguel Ángel Blanco, 2011; José Manuel Broto, 2006; Rosa Brun, 2015; François Bucher, 2017; Carmen Calvo, 2011; Daniel Canogar, 2010; Rafael Canogar, 2013; Victoria Civera, 2016; Martín Chirino, 2010; Dis Berlin, 2016; Francisco Farreras, 2013; Luis Feito, 2013; Joan Fontcuberta, 2017; Ruth Gómez, 2012; Josep Guinovart, 1965-2014; Joan Hernández Pijuan, 1965-2014; Juan Hidalgo, 2016; Diana Larrea, 2010; Miki Leal, 2017; Eva Lootz, 2008; Julio López Hernández, 2013; César Manrique, 1963-2005; Alicia Martín, 2006; Manolo Millares, 1963-2005; Mitsuo Miura, 2015; Fran Mohíno, 2012; Felicidad Moreno, 2007; Nico Munuera, 2015; Miquel Navarro, 2010; Antonio Pérez, 2016; Javier Pérez, 2008; Guillermo Pérez Villalta, 2017; Albert Ràfols Casamada, 1965-2014; Manuel Rivera, 1963-2005; Gerardo Rueda, 1963-2005; Ángeles San José, 2015; Eusebio Sempere, 1963-2005; Pablo Serrano, 1963-2005; Soledad Sevilla, 2006; José María Sicilia, 2008; Fernando Sinaga, 2009; Susana Solano, 2009; Josep Maria Subirachs, 1965-2014; Jordi Teixidor, 2015; Joan Josep Tharrats, 1965-2014; Francesc Todó, 1965-2014; Gustavo Torner, 2009; Rosa Torres, 2017; Pablo Valbuena, 2012; Eulàlia Valldosera, 2016; Daniel Verbis, 2007; Darío Villalba, 2011; José María Yturralde, 2015; and Tim White-Sobieski, 2008. 4 Año 14º de un programa de arte contemporáneo que, ÁMBITO CULTURAL de EL CORTE INGLÉS , coincidiendo con la feria ARCOmadrid, inició en 2005. Un programa de intervenciones que cuenta con la colaboración del Ayuntamiento, Co - munidad de Madrid y Promoción del Arte (Ministerio de Educación, Cultura y Deporte), habiéndose convertido ya en un clásico anual, tanto del tiempo de ARCOmadrid como de la calle madrileña en este tiempo. ¿PINTURA? / PAINTING? , título del nuevo programa, refiere una pregunta para pasar acto seguido a afirmar la energía de los pintores de todos los tiempos. Participando: Alfonso Albacete (Antequera, 1950); Irma Álvarez-Laviada (Gijón, 1978); Marta Cárdenas (San Sebastián, 1944); Menchu Lamas (Vigo, 1954); Carlos León (Ceuta. 1948) y Juan Ugalde (Bilbao, 1958). ¿Tiene sentido la llamada pintura-pintura ?, plantea preguntarse nuestro comisario, o ¿pervivirá la pin - tura en un futuro? Como también ha escrito, mostramos este ejercicio que trata de abordar lo que hoy alimenta la creación, propuesta de ARCO madrid, pregunta sobre el futuro: “imaginar, producir y proponer una visión de la com - plejidad que nos acecha”. Como señala el texto institucional del Ministerio de Educación, Cultura y Deporte – Promo - ción del Arte, parece procedente esta propuesta puesto que “asistimos ahora a un retorno del interés por este medio plástico, a una voluntad por parte de la comunidad artística de retomar la atención en la pintura, como técnica capaz de expresar ideas nuevas. Este retorno ha tenido lugar sin que se produzca una oposición entre las diferentes líneas expresivas. Más bien al contrario, para los artistas que ahora practican la pintura, el gesto efímero y la acción inma - terial, han sido el preámbulo reflexivo necesario para sus nuevas propuestas”. El origen de este programa de arte contemporáneo efímero tiene que ver con dos procesos de intervenciones de ar - tistas, realizados muy tempranamente en Europa: tuvieron lugar en 1963 y 1965 en Madrid y Barcelona, en los esca - parates de los grandes almacenes y se han recordado en dos programas de reedición de los mismos (2005 y 2014). En 1963 participaron Manrique, Millares, Rivera, Rueda, Sempere y Serrano (reedición 2005). Y, en 1965, Guinovart, Hernández Pijuan, Ràfols Casamada, Subirachs, Tharrats y Todó (reedición 2014). Los programas de ÁMBITO CULTURAL se han venido realizando en torno a diversas reflexiones sobre el arte contem - poráneo y han tenido siempre un carácter temático: SEIS ESCAPARATES (2005); ESPACIOS IMAGINADOS (2006); PIN - TURA-PINTURA (2007); EN TORNO A LO TRANSPARENTE (2008); OBJETO-SIN OBJETO (2009); CIUDADES/CITIES (2010); OTRAS NATURALEZAS (2011); LIGHTHOUSE (2012); THE FIFTIES (2013); PRE-POP/1965 (2014); ON COLOUR (2015); LOS OTROS [AR - TISTAS] (2016) y, el pasado año, NUEVAS IMÁGENES . Hemos de mencionar a los artistas, casi setenta, que han parti - cipado en las intervenciones desde 2005: Alfredo Alcaín, 2017; José Luis Alexanco, 2016; Chema Alvargonzález, 2006; José Ramón Amondarain, 2007; Eugenio Ampudia, 2012; Eduardo Arroyo, 2007 ; José Manuel Ballester, 2006 ; Miguel Ángel Blanco, 2011; José Manuel Broto, 2006 ; Rosa Brun, 2015; François Bucher, 2017; Carmen Calvo, 2011; Daniel Canogar, 2010; Rafael Canogar, 2013; Victoria Civera, 2016; Martín Chirino, 2010 ; Dis Berlin, 2016; Francisco Farreras, 2013; Luis Feito, 2013; Joan Fontcuberta, 2017; Ruth Gómez, 2012; Josep Guinovart, 1965-2014; Joan Hernández Pijuan, 1965-2014; Juan Hidalgo, 2016; Diana Larrea, 2010 ; Miki Leal, 2017; Eva Lootz, 2008 ; Julio López Hernández, 2013; César Manrique, 1963-2005 ; Alicia Martín, 2006 ; Manolo Millares, 1963-2005 ; Mitsuo Miura, 2015; Fran Mohíno, 2012; Felicidad Moreno, 2007 ; Nico Munuera, 2015; Miquel Navarro, 2010 ; Antonio Pérez, 2016; Javier Pérez, 2008 ; Guillermo Pérez Villalta, 2017; Albert Ràfols Casamada, 1965-2014; Manuel Rivera, 1963-2005 ; Gerardo Rueda, 1963-2005 ; Án - geles San José, 2015; Eusebio Sempere, 1963-2005 ; Pablo Serrano, 1963-2005 ; Soledad Sevilla, 2006 ; José María Si - cilia, 2008 ; Fernando Sinaga, 2009 ; Susana Solano, 2009 ; Josep Maria Subirachs, 1965-2014; Jordi Teixidor, 2015; Joan Josep Tharrats, 1965-2014; Francesc Todó, 1965-2014; Gustavo Torner, 2009 ; Rosa Torres, 2017; Pablo Valbuena, 2012; Eulàlia Valldosera, 2016; Daniel Verbis, 2007; Darío Villalba, 2011; José María Yturralde, 2015; y Tim White-So - bieski, 2008. Puede decirse que las intervenciones realizadas han supuesto un amplio recorrido por lo más destacado del arte de nuestro tiempo. 5 Taken as a whole, the interventions created over this time could well be viewed as a complete
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