Ignasi Aballí – Diagrams 17 January – 7 March 2020


Ignasi Aballí – Diagrames
17 January – 7 March 2020
Opening: Thursday January 16th at 7 pm

Ignasi Aballí (Barcelona, 1958) is one of the most renowned artists of his generation in the Spanish art world. His work deals with the boundaries between artistic creation and everyday life and often includes the use of household materials such as dust, newspaper cuttings or the fibre remains of a clothes dryer.

He applies a highly controlled methodology to his work, but it is often based on the artist’s non-intervention in order to leave the creative process in the hands of chance, light, time, etc. Another feature of his work is the expression of a presence arising from its absence, the use of opposing concepts, lists of words taken from newspapers dealing with the accumulation of information in the media or temporary interventions using the architecture of exhibition spaces or their walls as an artistic medium.

Galeria Toni Tàpies has produced two editions of unpublished engravings by the artist. The first, “Set estampacions d’una planxa de gravat” (Seven prints from an engraving plate) comprises, as its title indicates, seven prints from a blank engraving plate that changes position, always badly centred on the paper. As is often the case in Aballí’s work, their main protagonist is absence or invisibility. The image is simply suggested by the edges of this changing position plate. It could be said that these engravings provide a document of the performative act of placing the plate on some paper, regardless of whether it contains an image.

The second series, entitled “Esquema I a VI” (Diagrams I to VI), is like a school chart, with an ordered series of numbers at the bottom of the engraving that refer to the same numbers distributed randomly at the top, each indicating a blank space, like a metaphor for the indefinable. The numbers at the bottom in a second group all correspond to the word “Void”, which is randomly distributed at the top of the engraving, where the numbers are not accompanied by any images. The last group of this series has several boxes containing words such as “intangible”, “absent” or “inaccessible”, all indicating the difficulty of capturing ultimate reality, a similarly recurrent theme in the artist’s work.

The exhibition is completed by three drawings. The subject of two of these is the absence of dust that once covered them in an area of the paper that has been blown away. In the third, Aballí has employed the sheets of paper used to clean the engraving plates in a type of contact magic that transfers the creation from one medium to the other.

Ignasi Aballí has held several solo exhibitions both in Spain and abroad, including at MACBA (Barcelona, 2005), Fundação de Serralves (Porto, 2006), IKON Gallery (Birmingham, 2006), ZKM (Karlsruhe, 2006), Pinacoteca do Estat (São Paulo, 2010), Artium (Vitoria, 2012), Museu Nacional Centro de Arte Reina Sofía (Madrid, 2015), Fundació Joan Miró (Barcelona, 2016), Museo de Arte de la Universidad Nacional de Colómbia (Bogotá, 2017), Art Gallery Kula (Split, 2018) and Museum of Contemporary Art (Zagreb, 2018). His work has been displayed at various times in the following galleries: Estrany-De la Mota (Barcelona), Elba Benítez (Madrid) and Meessen de Clercq (Brussels), and has also been seen at: Proyecto Paralelo (Mexico City), Thomas Bernard-Cortex Athletico (Paris), Pedro Oliveira (Porto), Nordenhake (Berlin) and Blueproject Foundation (Barcelona). He participated in the 52nd Venice Biennale (2007), 8th Sharjah Biennial (United Arab Emirates, 2007), 11th Biennale of Sydney (1998), 4th Guangzhou Triennial (China, 2012) and 13th Cuenca Biennial (Ecuador, 2016). He was awarded the Joan Miró Prize in 2015.

2020.01.16 News Comments Off on Ignasi Aballí – Diagrams 17 January – 7 March 2020

Alex Katz, Emma Kay, Ed Pien, Antoni Tàpies October 3rd – November 8th 2019

Expo gravats gran format 2

Galeria Toni Tàpies is pleased to present a new exhibition of work on paper, revisiting artists that have accompanied us throughout our trajectory. From different perspectives, the artists we present have rediscovered drawing and work on paper. On one hand, Tàpies, who worked daily on drawing and reached levels of magnificence where so little tells us so much. Emma Kay, on the other hand, with her specific work on memory tells us a lot more in what is missing than in what she actually shows.

And if with Alex Katz his works on paper are fundamental in the preparation of his paintings, and where the abstraction and minimal reduction of the reality that surrounds him makes it beautiful, clear and elegant, Ed Pien and his folds and repetitions as an important part of the creative process bring us closer to a new field where the oneiric takes shape.

On Paper also wants to present a variety of techniques and approaches used by the artists to create different kind of images. Through their explorations, they have gone beyond the classical intervention with pencil, ink, paint on traditional paper, and opened up to new possibilities and meanings.

Alex Katz was born 1927 to a Jewish family in Brooklyn, NY, as the son of an émigré who had lost a factory he owned in Russia to the Soviet revolution. In 1928 the family moved to ST. Albans, Queens, where Katz grew up.

From 1946 to 1949 Katz studied at The Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture, Maine. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting”. Katz has admitted to destroying a thousand paintings during his first ten years as a painter in order to find his style. Since the 1950s, he worked to create art more freely in the sense that he tried to paint “faster than [he] can think.” His works seem simple, but according to Katz they are more reductive, which is fitting to his personality. “(The) one thing I don’t want to do is things already done. As for particular subject matter, I don’t like narratives, basically.”

Emma Kay (London, 1961) is a British artist working with subjectivity and memory. Kay studied art at Goldsmiths College, working toward a BA from 1980–83 and an MA from 1995 -97.

Her early work consisted of compiling index-like lists of inanimate objects from a selection of novels. The Bible from Memory was her first ‘memory’ text using only her own recall of the text and was included in the British Art Show 5 2001 held at the South Bank Centre in London. This was followed by Shakespeare from Memory in 1998, three drawings The World from Memory I, II and III, 1998, and Worldview, 1999, an attempt to write down the History of the Whole World from memory. Future, 2001, (Chisenhale Gallery) is a digital film that describes the future of the world, while The Story of Art, 2003, (Tate Modern) is a digital film attempting to write the history of art.

Ed Pien (Taipei, 1958) Ed Pien is a Canadian artist based in Toronto. Born in Taipei, Taiwan, he immigrated to Canada with his family at the age of eleven. He draws on sources both Eastern and Western to create his work, including Asian ghost stories, hell scrolls, calligraphic traditions and the works of Hieronymus Bosch and Francisco Goya, creating sensual, drawing-based installations using ink and translucent paper. In his most recent body of work, Pien has replaced ink and gouache with an x-acto knife in order to produce large-scale paper cuts.

Pien has shown extensively, both nationally and internationally, in venues that include the Drawing Centre, NYC: the Victoria & Albert Museum, London; The Canadian Culture Centre in Paris; The Goethe Institute in Berlin; The Art Gallery of Greater Victoria; The Art Gallery of Ontario; Musée des beaux arts, Montreal; Musée d’art contemporain, Montreal; Songzhuang Art Centre, Beijing; aswell as the National Art Gallery of Canada.

Antoni Tàpies (Barcelona, 1923-2012). His first painterly explorations, produced in the late-1940s and early-1950s and still marked by Surrealism, provided him with a base for research into physical nature of objects and their materiality. Very soon, though, his work began to focus on the search for new expressive parameters in which texture played a key role. He quickly began to produce works with relief, fragments torn off, lacerations, rips, linking him to informalism and to American abstract expressionism. He later began to incorporate doors, windows and the human body, and to use collage and assemblage in highly personal work that won him international recognition.

Today, the work of Antoni Tàpies forms part of numerous public and private collections, including those of the Tate Gallery in the United Kingdom, MoMA in New York, the Galleria Nazionale d’Arte Moderna in Rome, the Musée d’Art Moderne and the Centre Georges Pompidou in Paris, amongst others. Tàpies also took part in Documenta, and at the Venice Biennale on several occasions and was awarded the Golden Lion in 1993. He also presented countless solo exhibitions at international galleries. These include, particularly, retrospectives at the Guggenheim Museum in New York (1962 and 1995), the Musée d’Art Moderne de la Ville de Paris (1973), the Nationalsgalerie in Berlin (1974), the Louisiana Museum of Art, Denmark (1974), the Hayward Gallery, London (1974), the Seibu Museum of Art, Tokyo (1976), the Musée d’Art Moderne de Montreal, Quebec, Canada (1977) – and the Museo Nacional Centro de Arte Reina Sofía in Madrid (1990), amongst others. The Antoni Tàpies Foundation was established in Barcelona in 1990.

2019.10.18 News Comments Off on Alex Katz, Emma Kay, Ed Pien, Antoni Tàpies October 3rd – November 8th 2019

La Luz

Editorial Gustavo Gili, 2014
Pere Gimferrer i Antoni Tàpies
La Luz
La Cama Sol, 2018
53 pag
24 x 17 cm
Text: Pere Gimferrer
Prologue: Marie Claire Zimmermann
Language: Es
Color illustrations: 8
Price: 40 €

2018.04.10 Comments Off on La Luz

Antoni Tàpies – Obra Gráfica 1995-2011

Editorial Gustavo Gili, 2014
271 pag
28 x 22 cm
Cataloging: Núria Homs. Introduction: Manuel J. Borja-Villel
Language: Es/En
Illustrations in color and b/w
Price: 75 €

2014.10.07 Comments Off on Antoni Tàpies – Obra Gráfica 1995-2011

Susy Gómez – Rendez-vous

April – June 1997 Edicions T, 1997 20 pag 25.5 x 22.5 cm Text: Francisco Calvo Serraller Language: Es/En Color illustrations: 4 B/W illustrations: 6

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Susy Gómez – Pares de ojos que duermen

September – November 1998 Edicions T-Galeria Toni Tàpies, 1998 24 pag 25.5 x 22.5 cm Language: Cat-Es Color illustrations: 18 B/W illustrations: 4

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Susy Gómez – Susy Gómez

Ajuntament de Pollença, 2001 163 pag 28,8 x 22 cm Text: Manel Clot, Frederic Montornés Language: Cat/Es/En

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Susy Gómez – Je ne savais pas

Galeria Toni Tàpies i Galeria Horrach Moyà, 2005 190 pag 21,3 x 17 cm Text: Sebastià Camps, Joan Morey Language: Es/En Color illustrations: 91 B/W illustrations: 7

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Daniel Jacoby – Pronòstic

Pronòstic del temps per al 20 de febrer dels propers 100 anys Cru, Secretaria de Juventut de la Generalitat de Catalunya, 2009 104 pag 21 x 15 cm Language: Cat/Es/En Color illustrations: 100

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Ann Veronica Janssens – Experienced

BasePublishing and EACC, 2009 500 pg aprox. 34 x 24,2 cm Text: Ann Veronica Janssens Language: Cat/Es/En/Fr/Du/Po/Ru/Ch/Ja/De Color illustrations: 6000 aprox

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Alex Katz – Paintings, studies, cartoons

October – November, 2007 Galeria Toni Tàpies, 2007 56 pag 25,5 x 22,7 cm Text: Natasha Hébert Language: Cat/Fr/En/Es Color illustrations: 24

2013.10.18 Comments Off on Alex Katz – Paintings, studies, cartoons

Antoni Llena – Preposicions

September/November 1997 Edicions T, 1997 32 pag 25.5 x 22.5 cm Text: Xavier Antich Language: Cat/Es/En Color illustrations: 9 B/W illustrations: 2

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Antoni Llena – Fantasmes públics i privats

April/June 1999 Edicions T-Galeria Toni Tàpies, 1999 36 pag 25.5 x 16.5 cm Text: Antoni Llena Language: Cat/En B/W illustrations: 16

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Julia Montilla – Precipitados

September- November 1999 Edicions T-Galeria Toni Tàpies, 1999 28 pag 20 x 20 cm Text: Creatures Language: Cat/Es/En Color illustrations: 15

2013.10.18 Comments Off on Julia Montilla – Precipitados

Julia Montilla – Double Feature / Sesión Doble

Galeria toni Tàpies, 2004 44 pag 24 x 20 cm Text: Julia Montilla Language: Es/En

2013.10.18 Comments Off on Julia Montilla – Double Feature / Sesión Doble