Equipo 57 in New York. "EQUIPO 57: 1957-1962" at Shin Gallery
01/07/2018.
in collaboration with Galería Rafael Ortiz [NY] USA 29/06>12/08/2018
metalocus, PABLO SEBASTIÁN
metalocus, PABLO SEBASTIÁN
Equipo 57, a group of artists who claimed the new conception of contemporary art in Spanish society during the Franco regime, arrives at the Shin Gallery in New York.
No title. 1957 Gouache on paper 33,5 x 45,5 cm. Via: courtesy of Galería Rafael Ortiz
Untitled (CO-61). 1961 Oil on canvas 65 x 54 cm. Via: courtesy of Galería Rafael Ortiz
Installation view. Via: courtesy of Galería Rafael Ortiz
No title. 1961-1962 Brass and blued metal. Edition: 2 copies 71 x 56 x 42 cm. Via: courtesy of Galería Rafael Ortiz
Installation view. Via: courtesy of Galería Rafael Ortiz
Drawings and preparatory gouaches Paris. 1959-61 Mixed media on paper 34 x 50 cm. Via: courtesy of Galería Rafael Ortiz
SHIN GALLERY (NYC, USA), in collaboration with GALERÍA RAFAEL ORTIZ (Sevilla, Spain), is pleased to present an exhibition featuring the Spanish artist group, EQUIPO 57. In 1957, Spanish art experienced a pivotal shift in its visual framework. In the wake of this change, Equipo 57 was formed in Paris, and was one of the first and most important groups to come out of this renewal.
The founders include: Juan Cuenca (Puente Genil, Córdoba, 1934), Ángel Duarte (Aldeanueva del Camino, Cáceres, 1930-Sion, Suiza, 2007), José Duarte (Córdoba, 1928- Madrid, 2017), Agustín Ibarrola (Bilbao, 1930) and Juan Serrano (Córdoba, 1929).The group’s manifesto acted as a catalyst, triggering a modernized artistic consciousness within Spanish society.
The members of Equipo 57 each strongly believed art to be a driving force, capable of elevating Spain’s zeitgeist in the late 1950’s. With Spain’s failed attempts to assimilate to globalization and the artistic conservatism imposed by the Franco regime, Equipo 57 wanted art to impact Spanish society as the Bauhaus and Russian Constructivism theoretically intended to influence society.
Equipo 57 sought to facilitate the narrative of furthering political and social development through their practice. Acknowledgment of their impactful work continues to increase both at national and international levels.
Each of their works were collectively composed and labeled as Radical Geometric Abstract Art. Equipo 57’s artistic concerns ranged from experimental cinema and architecture to interior and industrial design, among painting and sculpture. The creation of furniture holds an important place among their works as well, bringing simplicity and beauty to designs that only now are beginning to be common. One of their most important contributions is the formulation of the Theory of the Interactivity of Plastic Space, developed in 1957 and applied in all their subsequent artistic production.
Equipo 57 showed their works at important public spaces in their time and in recognition of that trajectory MNCARS (Museo Nacional Centro de Arte Reina Sofía) gave them their first important retrospective exhibition in 1993. Other exhibitions have followed that important show, adding to the understanding of one of the most enriching, interesting and original contributions of Spanish art to contemporaneity.
The group existed until 1962, although the official dissolution occurred in 1966 following the Berne (Switzerland) exhibition.
The founders include: Juan Cuenca (Puente Genil, Córdoba, 1934), Ángel Duarte (Aldeanueva del Camino, Cáceres, 1930-Sion, Suiza, 2007), José Duarte (Córdoba, 1928- Madrid, 2017), Agustín Ibarrola (Bilbao, 1930) and Juan Serrano (Córdoba, 1929).The group’s manifesto acted as a catalyst, triggering a modernized artistic consciousness within Spanish society.
The members of Equipo 57 each strongly believed art to be a driving force, capable of elevating Spain’s zeitgeist in the late 1950’s. With Spain’s failed attempts to assimilate to globalization and the artistic conservatism imposed by the Franco regime, Equipo 57 wanted art to impact Spanish society as the Bauhaus and Russian Constructivism theoretically intended to influence society.
Equipo 57 sought to facilitate the narrative of furthering political and social development through their practice. Acknowledgment of their impactful work continues to increase both at national and international levels.
Each of their works were collectively composed and labeled as Radical Geometric Abstract Art. Equipo 57’s artistic concerns ranged from experimental cinema and architecture to interior and industrial design, among painting and sculpture. The creation of furniture holds an important place among their works as well, bringing simplicity and beauty to designs that only now are beginning to be common. One of their most important contributions is the formulation of the Theory of the Interactivity of Plastic Space, developed in 1957 and applied in all their subsequent artistic production.
Equipo 57 showed their works at important public spaces in their time and in recognition of that trajectory MNCARS (Museo Nacional Centro de Arte Reina Sofía) gave them their first important retrospective exhibition in 1993. Other exhibitions have followed that important show, adding to the understanding of one of the most enriching, interesting and original contributions of Spanish art to contemporaneity.
The group existed until 1962, although the official dissolution occurred in 1966 following the Berne (Switzerland) exhibition.
More information
Venue
Shin Gallery, 68 Orchard Street, New York, USA.
Dates
From June 29 to August 12, 2018
Juan Cuenca, Ángel Duarte, José Duarte, Agustín Ibarrola, Juan Serrano. Equipo 57
Equipo 57 is a group of artists created in 1957, by Juan Cuenca, Ángel Duarte, José Duarte, Agustín Ibarrola, Juan Serrano and lasts until 1962, although its official dissolution takes place in 1966 after its exhibition in Bern.
Heirs of the most extreme current of concrete art, Equipo 57 is an important reference for several generations of Spanish normative artists. In fact, his work, which is constantly updated, continues to grow in recognition both nationally and internationally.
Its position, always radical, raises and questions issues such as authorship, to which the members of the team renounce, and the direct influence of art on society: art as a motor that can change society, as a dynamic element and fundamental to awaken consciences.
His artistic interests range from experimental cinema to architecture, interior design and industrial design, through painting and sculpture. Among his works occupies an important place the development of furniture providing patterns of simplicity and beauty in their designs that only nowadays become commonplace in creations.
One of the main contributions is the elaboration of the Theory of the Interactivity of the Plastic Space, developed in 1957, and that they will apply in all their later artistic production.
The brief but very prolific trajectory of Equipo 57 (1957-1962), made that his works could be contemplated already in his time in important public and private spaces: Paris, Copenhagen, Madrid, Córdoba, Sion, ... and in recognition of his career In 1993, the Reina Sofía National Art Center Museum, in Madrid, dedicated its first major retrospective exhibition.
To that important exhibition, other great exhibitions have been added that have contributed to the knowledge of one of the most enriching interesting and original contributions of Spanish art to contemporaneity.
Heirs of the most extreme current of concrete art, Equipo 57 is an important reference for several generations of Spanish normative artists. In fact, his work, which is constantly updated, continues to grow in recognition both nationally and internationally.
Its position, always radical, raises and questions issues such as authorship, to which the members of the team renounce, and the direct influence of art on society: art as a motor that can change society, as a dynamic element and fundamental to awaken consciences.
His artistic interests range from experimental cinema to architecture, interior design and industrial design, through painting and sculpture. Among his works occupies an important place the development of furniture providing patterns of simplicity and beauty in their designs that only nowadays become commonplace in creations.
One of the main contributions is the elaboration of the Theory of the Interactivity of the Plastic Space, developed in 1957, and that they will apply in all their later artistic production.
The brief but very prolific trajectory of Equipo 57 (1957-1962), made that his works could be contemplated already in his time in important public and private spaces: Paris, Copenhagen, Madrid, Córdoba, Sion, ... and in recognition of his career In 1993, the Reina Sofía National Art Center Museum, in Madrid, dedicated its first major retrospective exhibition.
To that important exhibition, other great exhibitions have been added that have contributed to the knowledge of one of the most enriching interesting and original contributions of Spanish art to contemporaneity.
