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Arte Español 1968-2011, Algunas Reflexiones Personales 1. PANORAMA SOCIAL-14:adv 23/12/11 12:06 Página 89 A debate Arte español 1968-2011, algunas reflexiones personales Juan Manuel Bonet* RESUMEN la Abadía de Montserrat. Gazeta del Arte nos gus- taba poco. Más Nueva Forma, aunque los artículos Este artículo ofrece un recorrido personal y crítico de Santiago Amón –con el cual pronto íbamos a del autor por el mundo del arte español, contrastando la coincidir en El País– se nos hacían largos. Nos entu- situación en 1968, año en que fecha sus primeros pasos en el arte, con el panorama actual. Las páginas que siguen siasmaba Nueva Lente. Aparte de Cuenca –Villafa- enumeran y describen los artistas y grupos que han pro- més no terminaría de cuajar–, los pocos museos cen- tagonizado las distintas etapas, y el contexto institucional trados en lo moderno y contemporáneo vivían en en que producían y ofrecían su trabajo al público, con la un casi completo letargo, y el Ateneo de Madrid ya intención de subrayar cuánto se ha diversificado y enrique- no era lo que había sido en la época de El Paso. Las cido la oferta artística en España en las últimas décadas. galerías al día eran pocas. Además de La Pasarela en Sevilla, contaban sobre todo Juana Mordó y Edur- ne y Seiquer y Skira y Eurocasa y Sen y Amadís y pronto Vandrés (luego Fernando Vijande) en Madrid; 1. Los artistas Gaspar y René Métras y Adrià en Barcelona; Val i 30 en Valencia; Grises en Bilbao, Mainel en Burgos; Conca en La Laguna… (De todas ellas sólo persisten Edurne en un nuevo avatar, esta vez escurialense, Uno dio sus primeros pasos en el mundo del Val i 30, y Métras con sus hijos al frente). arte “circa 1968”, y siendo muy joven, pues nacido en 1953. En la Sevilla de 1968 uno seguía el Mayo No es mi intención seguir evocando aquella francés vía Le Monde, y pronto crearía con Quico adolescencia de aprendiz de artista y pronto de crí- Rivas el Equipo Múltiple, y correría delante de los tico, pero si he empezado estas líneas casi en clave “grises”, y frecuentaría la Galería La Pasarela, que “Cuéntame cómo pasó”, es porque una conclusión recibía muchas muestras procedentes de Madrid, es que se puede adelantar respecto de cuál es la situa- decir, de Juana Mordó. En la ciudad tenía estudio ción actual del mundo del arte, es que ningún tiem- Fernando Zóbel, que había sido capaz de crear el po pasado fue mejor. Museo de Arte Abstracto Español de Cuenca, inau- gurado en 1966, y absolutamente modélico. De las “Circa 1968”, la escena estaba dominada Escuelas Superiores de Bellas Artes, pocas y rancias, por lo que quedaba de la Escuela de Madrid, den- apenas llegaba señal alguna. De la crítica, leíamos tro de la cual con el tiempo nos fijaríamos en Cane- a José María Moreno Galván en Triunfo, a José de ja y en Cristino de Vera; por la generación abstracta Castro Arines en Informaciones, a Juan-Eduardo Cir- de Tàpies, Chillida, Oteiza, Guerrero, Antonio Saura lot en La Vanguardia, y a los de Destino (Joan Peru- y los demás de El Paso; por realistas como Antonio cho, Maria Lluïsa Borrás, Daniel Giralt-Miracle), y a López García o Carmen Laffón; por geómetras (Ele- Rafael Santos Torroella en El Noticiero Universal, y na Asins, Manuel Barbadillo, Julián Gil, Soledad a Alexandre Cirici Pellicer en Serra d’Or, la revista de Sevilla, Jordi Teixidor, José María Yturralde…) de la Nueva Generación que lideraba el pintor y crítico * Escritor y crítico de arte ([email protected]). Juan Antonio Aguirre, algunos de los cuales pasa- NÚMERO 14. SEGUNDO SEMESTRE. 2011 PANORAMASOCIAL 89 1. PANORAMA SOCIAL-14:adv 23/12/11 12:06 Página 90 Arte español 1968-2011, algunas reflexiones personales rían luego a Antes del Arte, y al Centro de Cálculo El relativamente breve magisterio de Antonio de la Universidad de Madrid (CCUM), donde con López en San Fernando dio como fruto una flora- los primeros ordenadores se pusieron a generar ción de pintores realistas como Juan José Aquerreta, “formas computables”; por neo-figurativos como Florencio Galindo, Alfonso Galván, Clara Gangutia, Juan Barjola, Juan Giralt, Luis Gordillo –otro de Antonio Maya, José María Mezquita, Cayetano Por- Nueva Generación–, Ángel Orcajo o Darío Villalba; tellano, Matías Quetglás, Daniel Quintero… a los y por pintores pop como Eduardo Arroyo, Juan que luego se sumarían otros como Rafael Cidoncha, Genovés o los equipos valencianos Crónica –tras Félix de la Concha, Hernán Cortés, Jesús Mari Laz- la muerte de Rafael Solbes siguió en solitario kano, Víctor López-Rúa, Francisco Menéndez Manuel Valdés– o Realidad. Un poco aparte, las Morán, Joaquín Millán, Juan Moreno, Sebastià propuestas Fluxus de los ZAJ, es decir de Juan Ramis, Miquel Vilá... De todos ellos, Aquerreta en Hidalgo, Walter Marchetti y Esther Ferrer, fueron su Pamplona –recordemos también a Luis Garrido, lo más llamativo de una escena experimental donde Pedro Osés y Pedro Salaberri– y Mezquita en su también operaban el argentino Alberto Greco hasta Zamora, me parecen los más excepcionales. su suicidio, y poetas experimentales como el uru- guayo Julio Campal, Ignacio Gómez de Liaño o Fer- Con la exposición 1980, celebrada a finales nando Millán. de 1979 en un lugar tan emblemático como la sala que Juana Mordó tenía entonces en la calle de Cas- Francesc Abad, Jordi Benito, Ferran García telló, Ángel González García, Quico Rivas y yo mis- Sevilla, Antoni Llena con sus “obres febles”, Antoni mo dimos la batalla en pro de la pintura, sin hacer Miralda, Antonio Muntadas, Carlos Pazos, Josep distingos entre abstracción y figuración. Polémicos Ponsatí con sus monumentales Inflables, Joan con “Crónicas” y conceptuales, tuvimos contun- Rabascall, Benet Rosell, Francesc Torres y Jaume dente respuesta de esos sectores. Al año siguiente Xifra, son algunos de los conceptuales catalanes insistió en lo mismo Madrid DF, celebrada en el más destacados. Todo esto lo seguíamos sobre todo Museo Municipal capitalino. Hitos ambas de los que vía las mencionadas crónicas de Cirici. Abad, Mun- uno, antólogo en 1994 de la colección que mejor tadas y Torres crearon el Grup de Treball (1973- los refleja (la del galerista Miguel Marcos), bautizó 1975) para poner el arte al servicio de la política y como Los años pintados. en concreto de la del PSUC, del cual Treball era la principal tribuna. Pero aquello no transcurrió sin Juan Antonio Aguirre, Carlos Alcolea, Jaime polémica: Tàpies alzó en varias ocasiones su voz Aledo, Chema Cobo, Carlos Franco, Sigfrido Martín contra lo que consideraba utilitarismo de vía estre- Begué, Herminio Molero, Rafael Pérez Mínguez, cha de aquellos correligionarios neófitos. Más débil Guillermo Pérez Villalta, el ex-CCUM Manolo Que- fue el movimiento en el resto de España. En Madrid, jido, son las principales voces de una cierta figura- por ejemplo, sólo cabe recordar las propuestas del ción “seventies” madrileña –aunque pocos de sus diseñador gráfico Alberto Corazón –entonces él protagonistas nacieron en la capital–, deudora del también militante comunista–, las de Nacho Cria- pop y de voces a trasmano, y en clave más local del do –autor, en 1970, de un Homenaje a Rothko, y ejemplo del “senior” Luis Gordillo, y revisada en muy ligado a los ZAJ–, las de la también post-ZAJ 2009 por la muestra del Reina Los esquizos de Paz Muro, y sobre todo las de dos austriacos autores Madrid, comisariada por María Escribano. Por des- ambos de obras de gran esencialidad, Eva Lootz y gracia Alcolea, Martín Begué y Pérez Mínguez nos Adolfo Schlosser. Nombres a los cuales cabe añadir dejaron demasiado pronto, pero el resto sigue en los de Javier Utray e Isidro Valcárcel Medina, enton- sus trece, como siguen Bola Barrionuevo o Carlos ces casi invisibles, y hoy tan reivindicados ambos, el Durán en Málaga, en una Costa del Sol neomoder- segundo con carácter póstumo. na que ha sido parte importante de la mitología del tarifeño Pérez Villalta, y en la cual ahora vive su pai- Los memorables Encuentros de Pamplona, sano Chema Cobo. Las plataformas de esta figura- celebrados en 1972, financiados por la familia Huar- ción habían sido sucesivamente Amadís, sala oficial te, y organizados por Alea, es decir, por Luis de (nada menos que de la Dirección General de la Pablo y el ex-Nueva Generación José Luis Alexanco, Juventud) dirigida entonces por Juan Antonio Agui- supusieron, en pleno franquismo, el momento de rre; Daniel, que era una agencia de conciertos; y máximo auge del conceptual español, y a la vez, del Buades, que abrió sus puertas en 1973, de la cual inicio de su caída. En 2009 José Díaz Cuyás ha fui primer director artístico, y cuya aventura ha sido reconstruido para el Reina Sofía aquella aventura objeto en 2008 de una reconstrucción por parte del en la cual confluyeron geómetras y conceptuales, y Museo Patio Herreriano de Valladolid, depositario los Crónica, y grandes figuras extranjeras. de sus archivos. 90 PANORAMASOCIAL NÚMERO 14. SEGUNDO SEMESTRE. 2011 1. PANORAMA SOCIAL-14:adv 23/12/11 12:06 Página 91 Juan Manuel Bonet José Manuel Broto, Joaquim Chancho, Gerar- Civera y un Uslé que han sabido renovar el idioma do Delgado –otro que había sido de Nueva Gene- de la abstracción entre lo lírico y lo constructivo, ni ración y del CCUM–, Xavier Grau, Carlos León, el un Vázquez hondo y literario y que merece mayor japonés Mitsuo Miura, Diego Moya, Enrique Que- atención de la recibida hasta ahora, y lo mismo diría jido, Manuel Salinas, Santiago Serrano o Gonzalo de Claramunt, con la agravante de que se trata de Tena son nombres significativos de la nueva abs- un artista ya desaparecido.
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