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Pablo Serrano Pablo Serrano EXPOSICIÓN CATÁLOGO AGRADECIMIENTOS Artista Edita Familia Serrano Pablo Serrano Ministerio de Asuntos Exteriores Susana Spadoni Márquez Dirección General de Relaciones Culturales y Galería Fourquet Comisaria Científi cas Asociación Cultural A-71 Dolores Durán Úcar Sociedad Estatal para la Acción Cultural Exterior, Colección L. Azcona SEACEX Tomás Fuertes Coordinadora Gobierno de Aragón Museo Pablo Serrano-Gobierno de Aragón Esther Portela Departamento de Cultura y Turismo Dirección General de Acción Cultural José Sommer Ribeiro Transportes Coordinadora Edict, S.A. Esther Portela y a todos aquellos que han preferido permanecer en el anonimato Seguros Producción Axa Art Versicherung, A.G. Tf. Editores Aon Gil y Carvajal, Correduría de Seguros Diseño y Maquetación Marta Ruifernández Textos Juan Manuel Bonet Calvin Cannon Dolores Durán Úcar José Sommer Ribeiro Traducción Sirk Traducción Fotografías Manuel Blanco Joaquín Cortés Fotomecánica Grupo Rafael Impresión Tf. Artes Gráfi cas Encuadernación Ramos © Ministerio de Asuntos Exteriores Dirección General de Relaciones Culturales y Científi cas, 2003 © Sociedad Estatal para la Acción Cultural Exterior, SEACEX, 2003 © Gobierno de Aragón. Deprtamento de Cultura y Turismo. Dirección General de Acción Cultural. © de los textos, sus autores © de las obras, Pablo Serrano. VEGAP. Madrid, 2003 NIPO: 028-03-012-2 ISBN: 84-7232-916-X (MAE) ISBN: 84-96008-25-8 (SEACEX) Dep. Legal: M-13613-2003 It is an honour for me to present this exhibition on the artist Pablo Serrano, with which the Spanish Art Abroad programme, designed by the Spanish Ministry for Foreign Affairs, continues to exhibit the work of a number of key fi gures in Spanish contemporary art outside Spain. The work of Pablo Serrano, like that of other artists included on this programme, emerges from a rich artistic tradition in order to explore the possibilities of the avant-garde in depth and with conviction. One of the unique aspects of this artist's career is the fact that he approached these movements within the context of one of the most interesting cultural environments of the 20th century, the artistic scene of the nineteen-thirties and forties in Uruguay. This exhibition aims to offer a review of his work, beginning with the Toros series he produced in Uruguay and continuing with his Entertainments with Picasso, Guitar and Cubism, exhibited at the Guggenheim Museum in New York in September 1985, two months before the sculptor's death. Visitors to this exhibition will thus be offered a coherent perspective of Pablo Serrano's artistic development and social commitment, qualities that ensure him a prominent place within the fi eld of contemporary sculpture. However, this exhibition will also testify to the links that existed between a key artist within the history of Spanish art - he was a founder of the El Paso Group - and Latin American art, thus revealing the fruitful cultural and artistic relationship that has emerged between Latin America and Spain. I would like to express my gratitude to the Regional Government of Aragón for its participation in this project. This collaboration fulfi ls one of the objectives of the programme that seeks to foster cooperation between the Ministry and other local, regional and national institutions. In addition to the support provided by the Regional Government of Aragón we must also mention the contributions of all those individuals - especially Susana Spadoni and Dolores Durán - whose support and enthusiasm have brought this project to fruition. Our sincere thanks to them all. Ana Palacio Spanish Minister for Foreign Affairs of Spain Es para mi un honor presentar esta exposición del artista Pablo Serrano, con la que el programa Arte Español para el Exterior, diseñado por el Ministerio de Asuntos Exteriores, continúa exhibiendo fuera de nuestras fronteras la obra de fi guras claves de la modernidad española. La obra de Pablo Serrano, como la de otros artistas presentes en este programa, parte de una rica tradición artística, desde la que se adentra con decisión y profundidad en los caminos de la vanguardia. Una de las peculiaridades de este autor es la de haberse acercado a estos movimientos en uno de los ambientes culturales más interesantes del siglo XX, como es el del Uruguay de los años treinta y cuarenta. Esta exposición plantea un recorrido por su obra que se inicia con la serie de los Toros, concebidos en Uruguay, y culmina con los Divertimentos con Picasso, la guitarra y el cubismo, expuestos en el Museo Guggenheim de Nueva York en septiembre de 1985, dos meses antes de la muerte del escultor. Se ofrece así una perspectiva coherente de la evolución artística y el compromiso social de Pablo Serrano, que le sitúan en un lugar preeminente de la escultura contemporánea. Pero esta exposición también sirve para mostrar los lazos que existieron entre un artista capital en la historia del arte español –fue fundador del grupo El Paso- y el arte iberoamericano, mostrando así lo fecundo de los intercambios culturales y artísticos entre América y España. Además, me interesa destacar y agradecer la participación del Gobierno de Aragón en este proyecto; de esta manera se cumple uno de los objetivos del programa, que se ha propuesto la colaboración entre el Ministerio y otras instituciones locales, regionales y nacionales. A la presencia del Gobierno de Aragón hay que unir la de todas aquellas personas, en especial Susana Spadoni y Dolores Durán, que con su ayuda y entusiasmo han conseguido que este proyecto llegase a buen término. A todos ellos, gracias. Ana Palacio Ministra de Asuntos Exteriores de España The Government of Aragón is proud to present the work of Pablo Serrano throughout the world, in collaboration with the Spanish Ministry for Foreign Affairs. This exhibition forms part of the Spanish Art Abroad programme and is the result of the much-needed cooperation between institutions and countries. The sculptures produced by Pablo Serrano, one of the most international Spanish artists, enable us, the inhabitants of Aragón, to enhance the universal appeal of our region, a cultural milieu that has produced such prestigious names in the past as Gracian within the fi eld of literature, Goya within the fi eld of art, Ramón y Cajal within the fi eld of science and Buñuel within the world of fi lm. The open and fraternal spirit of the Aragonese character has a fi ne exponent in Pablo Serrrano. This sculptor from Teruel left Spain in 1935 and spent various long periods in Argentina and Uruguay, where he laid the foundations on which his later work would thrive. Upon his return to Spain, after twenty fruitful years on the American Continent, he reproduced these experiences in his varied and highly-committed work, in which he presents a mixture of feelings, memories from here and there, in order to refl ect upon the meaning of art and the adventure of being human. Using bronze, iron and steel, Pablo Serrano experiments with space, volume, light and touch. His work is imbued with a stubborn search for the spirit of things and of people, presenting a deep refl ection on Man and his development and an inquisitive perspective on what is considered to be masculine and feminine. All this, and much more, can be observed in the 37 works that make up the exhibition, encompassing some of the most important series that form part of his artistic output. I am sure that the public will enjoy contemplating these works, that also form part of Pablo Serrano's legacy preserved at the museum in Saragossa that bears his name, whose mission includes the promotion and research of his work. This exhibition will serve to promote his work but, above all, will enable the inhabitants of other countries to enjoy the art and universal appeal of Pablo Serrano's creations: pure feeling unencumbered by physical or mental barriers. Javier Callizo Soneiro Head of Cultural and Tourism Affairs. Regional Government of Aragón El Gobierno de Aragón se enorgullece de presentar la obra de Pablo Serrano por el mundo, en colaboración con el Ministerio de Asuntos Exteriores de España. Esta exposición se incluye en el programa Arte Español para el Exterior y es fruto de la necesaria cooperación entre instituciones y países. Las esculturas de Pablo Serrano, uno de los artistas españoles más internacionales, nos permiten a los aragoneses reforzar la universalidad de nuestra Comunidad Autónoma, una seña de identidad que arranca de referentes tan prestigiosos como Gracián en las letras, Goya en las artes, Ramón y Cajal en la ciencia o Buñuel en el cine. El espíritu abierto y fraternal del aragonés tiene en Pablo Serrano un exponente de máxima categoría. Nuestro escultor turolense salió de España en 1935 y pasó largos periodos de tiempo en Argentina y Uruguay, donde estableció las bases sobre las que se sustentará su obra posterior. A su regreso a España, tras veinte años de fructífera vivencia americana, plasmó sus experiencias en su variada y comprometida obra, donde se recogen sentimientos mezclados, recuerdos de aquí y allá para refl exionar sobre el signifi cado del arte y la aventura del ser humano. Utilizando el bronce, el hierro y el acero, Pablo Serrano juega con los espacios, el volumen, la luz y el tacto. Hay una tozuda búsqueda del espíritu de las cosas y las personas, una profunda refl exión sobre el hombre y su evolución, una mirada indagadora sobre lo masculino y lo femenino. Todo esto, y mucho más, puede apreciarse en las 37 obras que componen la exposición, haciendo un repaso por algunas de las principales series de su producción artística. Estoy seguro de que el público disfrutará con la contemplación de estas piezas, que son también una muestra del legado de Pablo Serrano que conservamos en el museo de Zaragoza que lleva su nombre, entre cuyos cometidos está la investigación y difusión de su obra.
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  • Untitled, 1962 207

    Untitled, 1962 207

    ABSTRACT This dissertation interrogates how the Caracas-based collective El Techo de la Ballena (active 1961−69) vacillated between the sociopolitical concerns that provided the basis for its proposals and the wide array of mainstream tendencies that informed its anti- aesthetic stances. El Techo dialogued with a variety of global currents in a multifaceted practice that encroached upon the realms of the aesthetic, the political, and the literary. In spite of evident convergences with au courant tendencies in these spheres, a fundamental retrograde stance anchored the proposals of these radicalized writers, artists, poets, and art critics. As I argue, their compulsion to return to the past reflected an aversion towards a critical Cold War moment marred in Venezuela by several key factors: a far from peaceful transition to democracy during the government of Rómulo Betancourt, a rapid physical transformation fueled by increasing oil revenue, persistent underdevelopment, and a less than equitable distribution of wealth. In Part I, I establish the socioeconomic and cultural conditions upon which El Techo based its multidisciplinary interventions. Two chapters investigate the critical issue of the Venezuelan petro-state at midcentury: the unbalance between a rapid officially- sanctioned socioeconomic development and the slower agricultural temporalities that continued to determine the rhythms of vast sectors of the population. I contend that the collective responded to the problems unleashed by a national economy built on petroleum and the parallel development of a fad aesthetic, Informalism, which emerged from the cultural excesses of that unstable developmentalist model. I organize Part II around three case studies that closely examine El Techo’s deliberate inversion of an internationally aligned modernity that hinged on the need for constant evolution and progress in the visual arts.