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References
Extract
One of the most oppressive consequences of self-consciousness that modern art has demanded, has been its increasingly inbred discourse. The affirmation of the autonomy of art, highly useful in principle, ends up giving rise to an autistic art, enclosed in its own pipe dreams, a resonance box of theories and doctrines which are equally autistic. This process reached its paroxysm in the last three decades. It doesn't yet have any meaning. Opposing the aspiration of an uncontaminated art, art must be contaminated, again, by . Therefore, what's important is to speak with artistic feeling, trying to intuitively imagine the figures of the era, the signs of the time: the prime matter that art transfigures in order to offer it more than its immediacy. To undramatise the internal mechanism of the is a way to save art for the world. We could discuss what this worlds' profile is, what are the dreams or the catastrophies that are drawn on the horizon, what are mans' aspirations, if they exist. But we can't continue legislating over art, nor asking it for conservative returns nor demanding renewed jumps into the emptiness. Now there are no formal taboos. Hence, neither is there the possibility of fetish theories for the . It's that each artist tries to deal with freely captivating the sensitivity that surrounds him or her and as a consequence expresses his or her truth. He who achieves it will reflect the . Even when our century becomes the century past.
Rafael Argullól
(c) El Paseante. ÒWhat happened with the XXth century.Ó Ed. Siruela
Esther Planas
I present these declarations in order to totally identify with them, given that they express perfectly thoughts and convictions common to my own.
It forms part of a humble path and attitude towards my masters, those who are admired, known (or less known), consecrated or anonymous, like all the religiously magical artists and the times and the places which make them possible. And, therefore, like a "Contaminated" and not "Autistic" work. Be it from Gauguin to Chagall in the Te Rerioa, to Jean Vig— and L'Atalante or Etruscan black statuettes where men and women are raised up to the loins.
Rsum
1979/80 Barcelona Theatre Institute, contemporany dance.
1980/82 London Contemporany Dance Theatre.
1983/85 Design and edition of the V.0. Magazine, Barcelona.
1986. Morocco, Illustrated travel journal. (Advertising in L'Home Invisible).
1988. Exhibition in homage to Pep—n Corornina, edition of book, La Sala Vinlon, Barcelona.
1989/91 Seville, individual exhibition, La Carboneria, Sep.90. Flamenco biennial.
Tangier, catalogue for Antonio Mir—, with Antonio Carmona (Ketama).
1992/93 Collaboration with La Fura dels Baus in the Hercules project, for the opening ceremony of the Olympic Games Barcelona `92.
Illustrations for the book Amics del Liceu, in the period of the Liceu Opera House.
Exhibition in Pati Llimona, Work on paper.
Individual exhibition. Paintings and Prints. "Tauromaquia Nocturnal'. Ignacio Varez Gallery, Madrid.
Collective Exhibition. Matanza, la Tonnara. Pati, Sicilia.
llth Art biennial fight against AIDS, Palau Robert, Barcelona.
1994. Exhibition "La construcci6n de la Luna", tauromachy. Paintings, prints and ceramics. Cervantes Institute Gallery, Rome.
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Graffiti