17 Sol LeWitt`s Wall Paintings in Botin Foundation Santander

 

It is the most ambitious exhibition in Spain dedicated to this unique artist, considered by many as the father of conceptual art: Sol LeWitt. Sol LeWitt. 17 Wall Drawings. 1970-2015 will be from July 18 to January 10, 2016 in the exhibition hall of the Foundation Botín in Santander.

 

There are 16 unpublished drawings in Spain and most have not been exhibited since its first execution for 20 years, the seventeenth already seen in Madrid for more than ten years ago and all of them together, we speak of the principle that became a pillar of Sol LeWitt's work: the idea and its supremacy within the creative process of a work. The LeWitt himself always claimed that "the idea is generating machine art".

 

 

Organized in collaboration with the Yale University Art Gallery and The Estate of Sol LeWitt, the exhibition offers visitors a unique perspective of formal and conceptual evolution of mural drawing in the artist's career, the variety and persity of his artistic practice, forms (geometric figures, simple shapes, connected shapes, lines, organic forms, ...)and techniques (colored pencil, graphite, chalk, acrylic, ink ...).

 

The sample includes Wall Drawing 821A (March 2007), Wall Drawing 7A (July 2015), Wall Drawing 118 (December 1971), Wall Drawing 413 (March 1984), Wall Drawing 237 (June 1974), Wall Drawing 614 (July 1989) , Wall Drawing 620E (October 1989), Wall Drawing 51 (June 1970), Wall Drawing 46 (May 1970), Wall Drawing 869C (1998), Wall Drawing 280 (January 1976), Wall Drawing 386 (January 1983), Wall Drawing 110 (September 1971), Wall Drawing 154 (April 1973); Wall Drawing 157 (April, 1973), Wall Drawing 208 (October-November 1973) and Wall Drawing 213 (September 1973). Moreover, Wall Drawing 7A will be held for the first time in the exhibition hall of the Botín Foundation.

 

Complementing the exhibit, the public can watch the Wall Drawing # 499 (Flat-topped pyramid with color ink washes superimposed truncated -Pyramid ink washes superimposed color, 1986), installed in the auditorium of the Botin Foundation in Santander since 1992 and will be reinstalled for the exhibition.

 

 

The murals have been recreated by selected artists by the Botín Foundation, 15 artists (twelve of them Cantabria) out of 459 applications have been lucky enough to follow the guidelines, annotations, notes and notes of the creative process that many consider parents of conceptual art. LeWitt gave great value and importance to the creative process that leads the artwork, so many of his works, still alive, were performed by others with their advice.

 

In 1967 LeWitt published "Paragraphs on Conceptual Art", a true manifesto of Conceptual Art in which he stated: "each and every one of the steps -garabatos, sketches, drawings, models of discarded work, studies, or conversations- reflections that occur during the execution of the work, are of interest. Sometimes, those that show the thought process of the artist, are even more interesting than the final product. " And with that guidance they have been made the wall paintings in Santander.

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.