The exhibition highlighted the way in which Andy Warhol (Pittsburgh, 1928 – New York, 1987) captures the cult of merchandise that emerged from the industrial inventions of the 19th century. Always attentive to technical and industrial progress, Warhol used all kinds of techniques and machines, from screen printing to the video recorder, with production patterns that he himself defined as “typical of an assembly line”.
This seemingly impersonal mechanical art cynically denies any intended spiritual charge. Warhol’s nihilistic silence is, in fact, one of the factors that give his work poetic height. Along with a selection of essays written by theorists of his work, the exhibition includes a section of portraits of the artist, taken by photographers such as Alberto Schommer, Richard Avedon and Robert Mapplethorpe.
On the occasion of the celebration of the tenth anniversary of the Joan Miró Prize, the Miró Foundation dedicated an exhibition to Ignasi Aballí in 2017, awarded the fifth edition of the prize. “Infinite Sequence” is the resulting catalog of this exhibition, which proposes an approach to the artist’s work moving away from chronological retrospectives to emphasize the interrelationship and continuity of fundamental themes in the pieces, such as invisibility or reflections around color theory.
The catalog “1. Llimós a la tecla ”was held on the occasion of the exhibition that took place in the former Tecla Sala factory, now the Art Center, which included more than two hundred pieces from the most unknown Llimós, from 1970 to in 1991, and accompanying them with texts corresponding to the different stages of the painter.
In 2001 the IVAM and the MACBA dedicated an exhibition on the long career of the artist Albert Ràfols-Casamada. This is the resulting catalog, which reproduces, in addition to a selection of the works on display, critical texts on the artist’s plastic and literary work.
This catalog presents a selection of works by Sergi Aguilar, assembled under the name of Perimetrías, and presented on the occasion of the exhibition project of the Cycle of great creators that took place in the exhibition halls of the Monastery of Santo Domingo de Silos, in 2004.
A brief dossier close to the artist’s book, in which the designer Alberto Corazón would collaborate, published by Barcelona’s Galería Maeght in 1975 on the occasion of Antonio Saura’s monographic exhibition. Along with reproductions of the artist’s works, here are compiled essays by Óscar Collazos and Alexandre Cirici, short articles by authors such as Cortázar or Tapié, and the set of texts 30 notas y 30 garabatos by Saura himself.
Catalogue that complemented the exhibition El Juego de Arte. Pedagogía, Arte y diseño (Fundación Juan March, 2019), which explored the influence that the new 19th century pedagogies, based on play and drawing, would have on the change that modern art introduced into tradition. With loans from numerous institutions, including the Fundació Suñol, in El Juego del Arte, the educational games dialogue with art, architecture and design because of their obvious formal similarities, but also because of the documented cases of artists educated in the new pedagogical currents.
The retrospective held by MACBA museum in 1998 focuses on the work produced by Barceló in the decade of 1987-1997 generated from his travel notebooks, which reflect the experience lived by the artist in Africa. The catalogue brings together the French texts that Barceló wrote on the African continent, essays by other authors and careful documentation of the works on display.
The Chillida exhibition offered by Fundació Miró in 1986 presented a discourse on the relationship between architecture/sculpture – space/volume built from the forty-six pieces displayed, including the artist’s first in iron. The catalogue offers, in addition to the images of these works, a compilation of texts by various authors and a poem that poet José Miguel Ullán would dedicate to Chillida.
This catalogue is an anthology of fifty years of Alexander Calder’s works selected for their aesthetic merit without neglecting any significant category of his production. The author, Jean Lipman, Calder’s personal friend, also presents less common aspects such as the artist’s genealogy and personality. The exhibition organised in 1977 by the Whitney Museum in New York travelled to the Royal Academy of Arts in London and finally, almost 15 years after its first opening, to the IVAM in Valencia.
