New exhibition in the permanent collection

New exhibition in the permanent collection

This room encapsulates an overview of styles that offered an alternative to the “official art” of the period from the 1960s in Mexico and Argentina alike, as well as in Latin America as a whole and the international artistic scene.

Rufino Tamayo and the New Argentine Figuration

The art of Latin America must be understood as an art of its own, and its evolution as a reflection of Latin American art per se which is related to the different situations in the countries that make up the continent, and not as a derivative of European and North American art. Its evolution, therefore, is also the reflection of a concern and a search for its own identity by artists.

The artists who are exponents of these proposals are united here by their use of colour and marks, as well as the predominance of matter and plastic experimentation. However, unlike North American and European informalism, his works never completely lose their references to the motif, to the message, mainly centred on the human figure, which is represented with an existential background that speaks of the philosophical concerns of human beings.

From September 20th in the Permanent Collection.

More information here.

Series “Carné Amont”

Carne Amont 1.6
Roberto Matta
Chile, 1911-2002

Carné Amont 1/6, 1979
Etching and aquatint
Ed. 60/100 66 x 50 cm

Ralli Collection

Roberto Matta

Roberto Matta, of Chilean origin, is one of the most influential international artists in the culture of the 20th and 21st Century. He joined the Surrealists in Paris in 1938. His input to the group was paramount, and he contributed decisively to the renewal of the current. His works stem from surrealism and psychic automatic drawing to let his imagination fly free with a great metaphysical painting component.

His style

Known mainly for his pictorial works and contributions to movements like Surrealism and Abstract Expressionism, Matta worked with different artistic techniques and became involved in an endless list of proposals and movements, both in Europe and America.

"Carné Amont"

The series of engravings "Carné Amont" consists of six works numbered from 1 to 6 in which, without a narrative structure or order, Matta represented totemic figures in allusion to pre-Columbian elements and the mythology of the indigenous peoples of America. At the same time, he included themes from the Etruscan, Greek-Latin and Egyptian mythology—countries and cultures he became acquainted with—to end up developing his very own Imaginarium that addresses the issues of origins. With figurative elements and a high degree of surrealism and anthropomorphism, his social work presented this random combination of symbols and narrative that intends to illustrate the problem in a more direct and accessible manner. 

 

Complete series "Carné Amont":

  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Carné Amont 1/6", 1979
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Carné Amont 2/6", 1979
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Carné Amont 3/6", 1979
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Carné Amont 4/6", 1979
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Carné Amont 5/6", 1979
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Carné Amont 6/6", 1979

Series “Hom´mere III – L´Ergonaute”

 

 

Roberto Matta
Chile-Italy, 1911-2002

Il Explose, 1977
Serie “Hom´mère III - L´Ergonaute”
Etching and aquatint
66 x 50 cm

Ralli Collection

 

Roberto Matta created four series of engravings, which he called Hom'mère. Each folder or artist's book presents a second name, the first of them being Hom’mère - Chaosmos (1973), followed by Hom’mère - L’autre (1975), Hom’mère - L’ergonaute (1977) and Hom’mère - Point d’appui (1983).

Taking the story of Jason and the Arognauts, one of the greatest epic poems of the Greek mythology that tells the story of the return trip of the hero, as an excuse, Matta created Hom’mère - L’ergonaute. He alludes to this classical narrative to illustrate an unedited biographical poem, in which he also reflects the social problems of the time.
The visual space between the works is paramount. We are presented with a chronological and historical order. We see linear vibrations, anthropomorphic characters set out in a space where texture and colour take precedence over anything else, full of transparencies that take us to one and another place at the same time in both a formal and plastic manner.
The Hom’mère series reflect his most developed artistic theories on the exploration and representation of the fourth dimension, the theory of relativity, movement and spatiality. He also addresses the theme of the identity of the human being and the origin of everything. It is not by chance that the title of the series is the combination of “homme” and “mère”: “Man” and "mother" in French.

 

Complete series “Hom´mere III - L´Ergonaute”:

  • Roberto Matta
    (Chile,1911-Italia,2002)
    "L´Ergofrage", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Les Pretendants", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Paterminant de L’Enfance", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Tranchetre", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Le Palais d´Hiver", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Le Conmer", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Il Explose", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Etre Hommonde", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Etre Atout", 1977
    Serie “Hom´mere III - L´Ergonaute”
  • Roberto Matta
    (Chile,1911-Italia,2002)
    "Vitreurs", 1977
    Serie “Hom´mere III - L´Ergonaute”

“The Five Musicians”

The five Musicians

Leopoldo Torres Agüero
Argentina, 1925-1995

The five musicians, 1953
Oil on table
125 x 105 cm

Ralli Collection

Leopoldo Torres Agüero

Leopoldo Torres Agüero was born in Argentina in 1924 and died in Paris in 1995. He lived in the province of La Rioja (Argentina) until the age of 17, when he moved to Buenos Aires.

The masterpiece

Three periods can be clearly distinguished in his artistic production: an initial figurative stage, turning later to lyrical abstraction, and the third and final period known as sensitive geometry.

Interested in monumental work from the start of his career, he worked on bank buildings, theatres, and even in a church. He used marble, stainless steel, cloth and jute in his desire to continually experiment with materials.

Interested in monumental work from the start of his career, he worked on bank buildings, theatres, and even in a church. He used marble, stainless steel, cloth and jute in his desire to continually experiment with materials.

Line, synthesis and chance

In the mid-1950s, when Torres Agüero travelled to France, his figurative period had already reached a point at which synthesis was at its height: forms were flat and geometric, with thick lines and strong colours. This manner of experimenting with form brought him closer to movements like Cubism, and his use of colour to Fauvism. His work “Los cinco músicos” corresponds to this period, and can be related to Picasso’s creations if we look closely at both its aesthetics and themes.

He lived in Japan between 1959 and 1962, an experience that was to change him both personally and artistically. There he was to delve deeper into his study of the spontaneity of line, colours, lights and shadows. On his return to Paris he continued bringing all of these ideas to life in his work, further developing the vertical and horizontal lines that he now related to the symbolism of yin and yang; masculine and feminine; the earth and the sky.

His work took the step from lyrical abstraction to geometric abstraction. He developed theories of op-art and kinetic art but using his own personal method in line with his artistic principles. Based on geometric compositions with regular framing and simple forms, he created his own “sensitive geometry”.

Torres Agüero died in Paris in 1995 whilst acting as Argentine ambassador to UNESCO. In his work of this period he was experimenting with depth through large compositions with textures in the backgrounds.

New temporary exhibition

The first exhibition about the Movimiento Espartaco (translated as the “Spartacus Movement”), that takes place in Europe can be visited at the Ralli Museum in Marbella from 2nd. of June. Composed of artworks by Ricardo Carpani, Mario Mollari, Juan Manuel Sánchez, Esperilio Bute, Carlos Sessano, Juana Elena Diz y Pascual Di Bianco.

The Spartacus Movement officially emerged in 1959 in the city of Buenos Aires, a year after writing a manifesto entitled “Por un arte revolucionario” (For revolutionary art), in which they set out the ideological foundations of the movement. Formally, it consisted of a return to the critical figurative tradition within Latin American art, as opposed to other folkloric and Europeanising currents with which they did not feel identified, but with a contemporary technique and language.

This exhibition on the Spartacus Movement is based around a series of works by the artists who were part of it. Without following a chronological order or structure, here we can find examples of the different tendencies, aesthetics and languages that were developed throughout its lifespan and how they were projected beyond it, maintaining certain similarities and recurring themes in each artist’s individual work. In particular, we see this artistic development within the same artist, based on the reiteration of motifs and subjects tackled using a different language.

The works on display here are part of the Ralli Museums collection, along with other pieces on loan from the private collection of Eduardo Bute Sánchez de Hoyos, thanks to which it has been possible to provide a comprehensive overview of the movement.

More information about the exhibition and the Spartacus Movement here.

The temporary exhibition of Roberto Matta is extended

The exhibition “Matta. Immersed in his worlds”, currently in the Museo Ralli Marbella, is extended until April 27, 2019.  

A total of 32 works by the Chilean artist, in which we shall see the engraver facet of this artist.

Matta worked with different artistic techniques and became involved in an endless list of proposals and movements, both in Europe and America. In his engravings, Matta illustrates historical events, myths of the Inca, Greco-Latin or Etruscan traditions, as well as literary texts and poems written by both contemporary and ancient writers in a free and personal manner.

He takes us on a journey from the Arauco War—where the Mapuche people fought against the conquest of the Spanish people—, Pre-Columbian myths and traditions, towards the new discoveries, science, the passing of time and spaces, tradition against new forms and languages, to new works represented by Roberto Matta. The invisible made visible.

Visit “Matta. Immersed in his worlds” for more information.