a l b a n o

www.albanoartist.com

© Textos y fotografías.

Las puertas están abiertas,

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DEPÓSITO LEGALAV. 99-2013

periscopio #9DIRECCIÓN | MANAGEMENT

Albano

EDICIÓN | EDITIONBeatriz Aymat

ASISTENTE DE EDICIÓN ASSISTANT EDITOR

Marta Malo

PRODUCCIÓN | PRODUCTIONCaroline J. Lowel

DISEÑO | DESIGNMarta Malo

TEXTOS | TEXTSAlfonso de la Torre, Javier Caballero,

Beatriz Aymat y Albano

TRADUCCIÓN | TRANSLATIONJosé Luis Aymat

AGRADECIMIENTO FOTOGRAFÍASTHANKFULNESS IMAGES

David García Torrado

Fundación Ankaria

Tapa | Cover

O Tempo.

Antonio de Ávila, 2016

periscopio #9Edición no venal de 25 + VI ejemplaresNumerados a mano y personificados por el autor

Ejemplar nº

Pertenece a

12

1821

solsticio de capricornio / 2016

CONTENIDOS

54

86 84

Alonso de S

ousa

Walt Disney

Si puedes soñarlopuedes hacerlo.

If you can dream ityou can do it.

1 2 y

3 PÁ

RRAF

OS A LAS ORILLAS DEL CAMON THE BANKS OF THE CAM

Beatriz Aymat

A pocos metros del Green Dragon fluye el río Cam, cuya corriente nos anima y acompaña en las últimas albas del año impulsándonos hacia devenir; con ideas de futuro y acogiendo lo nuevo presenta-mos la novena edición de Periscopio, que no es hija de Mnemosine y Zeus, pero es una realidad.

Aunando vista y olfato, las colecciones Ars Citerior y olorVISUAL, nos provocan una experiencia distinta del arte en Hipocamps, que nos transporta al mundo de los sentidos y la memoria de sus colec-cionistas. También veremos como la exposición Vanidades, Intelec-to, Espiritualidad, aborda, a través de las obras seleccionadas, tres aspectos inherentes de la condición humana.

Con gozo compartimos la celebración de la Semana Cela en el Circulo de Bellas Artes, la obra Atlantis galardonada en el Certamen Artemisia, “El acierto de Albano” en La Vanguardia, la edición del libro de artista “Grecia. Destino. Invisible” premiado por la Fundación Ankaria y la exposición From the Studio Floor, donde vio la luz, a poca distancia del King’s College, la primera obra sobre fieltro ex-puesta en Reino Unido. Viajamos junto a Walt Disney, cuya magia nos ha acompañado desde niños en el fluir de nuestras vidas. ¡Gra-cias por embarcar con nosotros!

A few meters from the Green Dragon flows the River Cam, which flow encourages and accompanies us in the last dawns of the year pushing us towards becoming; with ideas for the future and welco-ming the new we present the ninth edition of Periscopio, which is not a daughter of Mnemosine and Zeus, but a reality.

Combining sight and smell, the ‘Ars Citerior’ and ‘olorVISUAL’ collections, provoke us a different experience of art in Hipocamps, which takes us to the realm of the senses and the memory of their collectors. We will also see how the exhibition Vanidades, Intelecto, Espiritualidad, tackles, through selected works, three specific as-pects of the human condition.

With joy we share the celebration of the Cela’s Week in the Cir-culo de Bellas Artes, the work Atlantis awarded in the Artemisia’s Contest, “El acierto de Albano” at the La Vanguardia newspaper, the edition of the artist book “Grecia. Destino. Invisible” awarded by the Ankaria Foundation and the exhibition From the Studio Floor, where it saw the light, within walking distance of King’s College, the first work on felt shown in United Kingdom. We travelled along with Walt Disney, whose magic has been with us since childhood in the flow of our lives. Thank you for coming on board with us!

Albano, Tate Obra de | Work of Dominique Gonzalez-Foerster

Séance de Shadow II (bleu) 1998,

VICTRIX(fragmento)

LAS PINTURAS POSIBLES

VICTRIXATLAS 1520

Las negras dudas no se apartaban del horizonte. Ellos no buscaban la victoria, tan sólo su significado.

Por ello, aquí y ahora, somos libres.

VICTRIX | ATLAS 1520 60x40 cm. Óleo, acrílico,esmalte y grafito sobre papel.

23 5⁄8 x 15 3⁄4 in. Oil, acrylic, enamel and graphit on paper.

Colección Privada | Private Collection

CAMBRIDGE

THE GUILDHALL

F R O M T H E

S T U D I O

F L O O R

Obras de | Works of Suzi Morris y Albano

SPONSORED BY

SUPPORTING

RETBA | ATLAS 162660x40 cm. Acrílico,esmalte y grafito sobre fieltro.

23 5⁄8 x 15 3⁄4 in. Acrylic, enamel and graphit on felt.

COLECCIÓN ARS CITERIOR

CENTRE DEL CARME

V A N I T A T S

I N T E L L E C T E

E S P I R I T U A L I T A T

ESTRATO | ATLAS 1421Albano, 2014

Obras de | Works of Hernández Pijuan, Hugo Fontela, Albano, Damián Díaz y Vicente Vela.

[...] Inclasificable el trabajo de Albano, poético viaje autorreferencial entre el signo y la imagen extinguida. [...]

[...] it’s unclassifiable Albano’s work, a poetic and self-referential journey between the sign and the extinct image. [...]

Alfonso de la Torre

FERIA

TALLER DEL PRADO

ESTAMPA

RIVIERA | ATLAS 1639Albano, 2016

ALTERNATIVAS

TOMÁS PAREDES28 / 08 / 2016

L A

V A N G U A R D I A

EL BOSCO | 5th CENTENARY 102 x 65 cm. Óleo, acrílico,esmalte y grafito sobre papel.

40in x 25 19⁄32in. Oil, acrylic, enamel and graphit on paper.

Colección Ochoa-Cañigueral | Ochoa-Cañigueral Collection

ALBANO’S SUCCESSTomás Paredes

Is triumph his success? No. The success is his capacity to find and surprise him-self in each piece. His restlessness. At the time when his style was selling more, and he was more appreciated, he abandons it to start other worlds, without lea-ving his own plastic world. His success is taking chances, jumping into spacewithout a safety net. His success was the Bosch’s green, still being, but now between whites, water blue colours, chromatic marks, chess boards, stars, myste-rious drippings of colours and a cubist scent to perfume his concrete magic emotion.

Albano, Ávila 1988, is the most awarded young painter in Europe. He publi-shes “Periscopio”, an outstanding equinoctial magazine, a memory of hisjourney. He will be at Estampa and at the Thrifts Walk Studios in Cambridge, whe-re he lives. A man with history, in his full youth, and with everything yet to come.

EL BOSCO(fragmento)

THE MAKERS

27 / 10 / 16

C O N S T R U C T I V O

ALEJARAtlas 1634

ANOTARAtlas 1637

DISTRAERAtlas 1633

VERSARAtlas 1635

MEDIRAtlas 1636

HIPOCAMPS

MUAMuseo Universidad Alicante

COLECCIÓN OLORVISUAL

&

COLECCIÓN ARS CITERIOR

Obras de | Works of Anthony Caro, Dis Berlin, Eduardo Chillida, Albano, Rosa Muñoz, José Luis Mazarío, Ángel Vergara y Daniel Verbis

Works of | Obras deAntonio Murado, Joan Hernández Pijuan, Eduardo Chillida, Albano, Rosa Muñoz y José Luis Mazarío.

ALBANO

Miguel ALBERQUILLA

José Luis ALEXANCO

Elena ALONSO

Fernando ALMELA

Waldo BALART

Javier BALDA

Toño BARREIRO

Dis BERLIN

Mónika BUCH

Ricardo CAVADA

Miguel Ángel CAMPANO

Anthony CARO

Calo CARRATALÁ

Eduardo CHILLIDA

Chema COBO

Garikoitz CUEVAS

Jesús ETXARTE – EVRU

Juan Manuel FERNÁNDEZ PERA

Robert FERRER I MARTORELL

Hugo FONTELA

José GALLEGO

Cristina GARCÍA-RODERO

Pep GARRO

Rafael GRASSI-HIDALGO

Josep GUINOVART

Joan HERNÁNDEZ PIJUAN

Teun HOCKS

Jean-Baptiste HUYNH

Alex JASCH

Antoine LAVAL

José Luis MAZARÍO

Joaquim MICHAVILA

Rosa MUÑOZ

Antonio MURADO

Bruno OLLÉ

PEREJAUME

José Miguel PEREÑÍGUEZ

Xavi PUENTE

Gerardo RUEDA

Maya SARAVIA

Anett STUTH

Julio VAQUERO

Daniel G. VERBIS

Ángel VERGARA

José Mª YTURRALDE

HOMENAJE

CÍRCULO DE BELLAS ARTES

C A M I L O

J O S É

C E L A

EX-LIBRIS | ATLAS 1318Albano, 2013-16

Obra de | Work of Linda de Sousa.Página siguiente | Next page Homenaje a Camilo José Cela.

EX-LIBRIS | ATLAS 1318(fragmento)

MEMORIA

M U S E O

A D O L F O

S U A R E Z

Y L A

T R A N S I C I Ó N

CONSTRUYENDO LA LIBERTAD | ATLAS 1631Albano, 2016

ABECEDARIO

AEPE

G R E G U E R í A S

“La B es el ama de cría del alfabeto”

“The letter B is the wet-nurse of the alphabet”

Ramón Gómez de la Serna

AYUNTAMIENTO DE MADRIDMONCLOA - ARAVACA

PRIMER PREMIO

P R E M I O

A R T E M I S I A

PREMIO

FUNDACIÓN ANKARIA

L I B R O D E

A R T I S T A

ENTREVISTA

JAVIER CABALLERO

E S Q U I R E

I WOULD LIKE YOU GREENJavier Caballero

The BMW Painting Prize meant the leap in his career. Albano develops his passion, painting, from Cambridge.

The fields of Castilla inspired the work of Antonio Machado, first published in 1912. A century later, in 2012, those landscapes earned the painter Albano Hernández, as a source of inspiration for his paintings, to win the BMW Painting Prize of that year.

Albano Hernandez (Ávila, 1988), or Albano, as he prefers, began painting very early. “It’s documented, I have a photo (of myself) painting in a town in Segovia at 6 years old”. He stopped in his teenage years, but having to repeat ninth grade made him rethink his way, and art was presented itself as the best option. “It is a lifestyle. At the age of 14 I took it seriously, and worked until I was 18 so I could present myself to the prize.” He refers to the BMW Painting Prize, which in 2006 earned him the Mario Antolín scholarship. “When I won the scholarship, I could not resubmit. It served to promote, had a projection, I did not understand why they would then cut you off.” For-tunately, the bases changed, and in 2009 and 2010 he settled for the Medal of Honor until, he won the award in 2012. “It is the most important prize of my career. I do not know if I would have arrived somewhere else or not without it, of course the repercus-sion that has and its organization does not have any other. Two days after winning, Albano celebrated his wedding with his wife, with whom he now lives in Cambridge. “It was all very fast, I was notified on a Thursday and I was getting married on Saturday. There were many interviews and a proposal to exhibit in Uruguay.” And he did, where he also had the opportunity to know another style of life and to approach the painting. “I met people who had never seen a Picasso, even though they were passionate about art, because of the economic possibilities.”

Why Cambridge? “In Madrid I was unable to paint, and could not do so in University. I need to be in the countryside. Cambridge gives me that, it’s designed for studying and it there is plenty of scenery.” Like the one around him in his hometown, Avila, responsible for his first pictures to print a strong green. “It comes from the subcons-cious, from the fields of Castilla, when I was traveling I was impressed by the sown fields. I feel reflected in that work, it takes me to a landscape of moments from the past.” After going through the stage he calls Deserts, in which he used memories of journeys across deserts without taking notes or photographs, he is now in Atlas. “I was thinking that I had to paint something else, to find myself more, and I came to the conclusion that I wanted to reflect my study, where I spent hours, days, weeks ... That is my desert.”

RAUD

AL

FUEN

TE

DISNEY, UN SUEÑO

Albano

A menudo se dice, no sin acierto, que la necesidad agudiza el ingenio. Cuando hablamos de Disney esa necesidad va más allá del concepto económico, nos adentra en la exigencia del trabajo bien hecho, a la búsqueda ferviente de los últimos avances técnicos y a querer llevar los sueños a la vida real. Me pregunto si acaso Mickey no existe en nuestra realidad como El Quijote galopando por tierras manchegas. Walt Disney superó la ficción acercándose a la natura-leza, cuando la animación era el camino para contar aquello que no pertenece al hombre, él la hizo más humana.

Todos aquellos que crecimos, visualizando sus creaciones, de-bemos agradecer ese acercamiento a la magia del dibujo y a la precisión en el detalle de un creador dinámico, obsesivo y soñador. Ahora es tiempo de ver sus obras desde otra óptica, revisar las Si-lly Symphonies (1929-1939) para saber de qué hablamos cuando utilizamos la animación en el arte; o revisar las películas de nues-tra infancia para desarrollar el gusto por la música de calidad, cual Fantasía.

It is often said, not without success, that necessity is the mother of invention. When we speak of Disney that necessity goes beyond the economic concept, it takes us into the demands of the job well done, to the enthusiastic search of the latest technical advances and bringing dreams to real life. I wonder if maybe Mickey exists in our reality the same as Don Quixote galloping across La Mancha’s fields. Walt Disney surpassed fiction approaching nature, when animation was the mean to tell that which does not belong to man, he made it more human.

All those who grew up, watching his creations, should be grateful for that approach to the magic of drawing and the precision in detail of a dynamic, obsessive and dreamy creator. Now is time to look at his work from a different perspective, to review the Silly Symphonies (1929-1939) to know what are we talking about when we use anima-tion in art; or to consider our childhood films to develop the taste for quality music, as Fantasia.

DisneyAlbano, 2016

B I T Á C O R A DE ENCINA Y ROBLE

Albano

Se testimonian los últimos meses de este dos mil dieciséis, en el contenedor de esta novena edi-ción, que se ahorma a la sombra de castaños, plá-tanos, tilos y abundantes sauces bañados por el río Cam. Cambridge y Londres, con su multiculturali-dad, nos sumergen en la realidad del paisaje con-temporáneo. Entre tanto, a cada paso, disfrutamos de la compañía de amigos y manifestaciones que hacen de esta senda llamada Arte un camino vivi-ficante en el que completar las páginas de esta bi-tácora es un disfrute de memoria vívida y vivida.

Pasear por Cambridge nos mete de lleno en los Cuartetos de Eliot, porque une pasado, presente y el dibujo del futuro. Muchos son los proyectos culturales que aquí se desarrollan, atrayendo a artistas como Ai Wei Wei, que invitado por el Downing College expuso “cubes and trees” en la nueva galería de la institución.Del mismo modo, en Londres, encontramos el bu-llicio de ferias, galerías y subastas que presentan esas grandes obras creadas en los últimos años, piezas que precisan ser vistas en su original para no llevarnos engaños de las imágenes que fluyen por la red. Una andadura ilusionada, una luz que en-tra cada mañana en el estudio londinense de José Carlos Naranjo, amigo de tantas batallas. Nuestro constante fluir por la capital del Támesis también nos acercó a las exposiciones de Reguera y Pa-ricio, a la ampliación de la Tate y a conocer otros museos menos transitados, pero con igual grande-za, que hacen de Londres una ciudad inabarcable.

Entre tanto, en España, la relectura de El Bos-co caricaturizaba, quinientos años después de su marcha, el devenir de nuestros días. Como cada estío, sufrí la canícula en el estudio abulense, con aire serrano y atardeceres de fuego, herederos de aquellos que disfrutó Camilo José Cela y descri-bió con cálamo de oro, que hoy sirven para hacer soñar y deslizar la pluma al poeta Muñoz Quirós.

The last months of this two thousand and sixteen are witnessed, in the container of this ninth edition, that is shaped under the shadow of chestnut, maple, lime and abundant willows washed by the river Cam. Cam-bridge and London, with their multiculturalism, submer-ge us in the reality of the contemporary landscape. In the meanwhile, with every step, we enjoy the company of our friends and manifestations that make this path called Art a vivid way in which to fill in the pages of this compass in an enjoyable memory, both lived and vivid.

Walking through Cambridge makes us fall deep inside Eliot’s quartets, because it links past and present of the future drawing. Many are the cultu-ral projects that are here developed, luring artists such as Ai Wei Wei, that invited by Downing college showed “Cubes and Trees” in the institution’s newest gallery. In the same way, we found in London the noisiness of fairs, galleries and auctions that show those big works created in recent years, pieces that need to be seen the originals in order not to be de-ceived by their images portrayed on the web. A ho-peful walk, a light that seeps in through José Carlos Naranjo’s study in London, a friend in so many battles.

Our constant flowing through the Thames’ capital also got us closer to Regera’s and Parico’s exposi-tions, to the Tate’s expansion and to get acquainted with others, not so trodden museums, but just as grandiose, that make London such an unwieldy city.

In the meanwhile, in Spain, the re-reading of El Bosco caricatured, five hundred years after his de-parture, the going by of our days. As every Sum-mer, I suffered the midday sun en the Avila stu-dy, with the mountain air and fiery dusks, heirs of those ones that Camilo José Cela enjoyed and described with golden pen, that today serve to dream and slide the pen of the poet Muñoz Quirós.

¿dónde? ¿quién? ¿cuándo? Where? Who? When?King’s College, Cambridge / Frieze London, stand Timothy Taylor Gallery / Cubes and trees by Ai Wei Wei, Downing College, Cambridge / Pedro Pari-cio & Albano, Halcyon Gallery, Londres / Visitando el estudio de José Carlos Naranjo, Londres / Emi-lio Sánchez, José Pulido y Jose María Muñoz Qui-rós en el estudio de Albano / El Bosco, Museo del Prado, Madrid / The unknown universe de Alberto Reguera en Serena Morton Gallery, Londres / Ni cautivos ni desarmados, comisariada por Alfonso de la Torre, La Nau, Valencia / Cambridge Art Fair, stand Bear Space / Venancio Blanco & Albano.

Venancio Blanco y Albano.

ENCAM

BRIDGE

LAS PRIMERASNIEVES ESPERANDO,

SE EDITÓ ESTENÚMERO DEPERISCOPIO.

HACE SETENTA Y NUEVE AÑOS, EL 21 DE DICIEMBRE DE 1937, SE PROYECTÓ PORPRIMERA VEZ EN LA GRAN PANTALLA “BLANCANIEVES Y LOS SIETE ENANITOS”,

INICIO DE UNA AVENTURA DESLUMBRANTE, QUE NOS DIO INOLVIDABLES OBRAS DEL HACEDOR DE SUEÑOS, DISNEY, QUE ENRIQUECE ESTE NOVENO RAUDAL FUENTE.

THIS ISSUE OF PERISCOPIO WAS EDITED IN CAMBRIDGE, AWAITING THE FIRST SNOWS.SEVENTY-NINE YEARS AGO, ON DECEMBER 21, 1937, “SNOW WHITE AND THE SEVEN DWARFS”

WAS FIRST SHOWN ON THE BIG SCREEN. THE BEGINNING OF A DAZZLINGADVENTURE THAT GAVE US THE UNFORGETTABLE WORKS OF DISNEY, THE

DREAM - MAKER, ENRICHING THIS NINTH RAUDAL FUENTE.

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