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MANOLO VALDÉS-
POETICA DELLA TRADUZIONEa cura di / curator Kosme de Barañano
[email protected]+39 041 5230357
MANOLO VALDÉSpoetica della traduzioneA cura di / curator:Kosme de Barañano
16 giugno - 30 settembre 2018June 16th - September 30th, 2018
Piazza del Duomo / Square of the CathedralChiesa e Chiostro di Sant’Agostino / Church and Cloisters of Saint AugustinePietrasanta
Pontile / PierMarina di Pietrasanta
in collaborazione con
Coordinamento / CoordinationRiccarda Grasselli Contini
Traduzioni di / Translated byValencia Scott ColomboLuisa Zucchini
Fotografi e delle opere / Photographs of worksNicola GnesiEnrique PalacioRicardo SantonjaKosme de Barañano
Ringraziamenti / Special thanksRosa e Manolo ValdésKosme de BarañanoMassimo MallegniLuca Pizzi Maggi autotrasporti
Con il contributo di / With the contribution of
CANTINA E PUNTO VENDITA / WINERY SHOPVia Cucco, 31058 Collalto di Susegana (TV) - ItalyTe l + 3 9 3 3 3 9 6 8 1 9 5 5 - i n f o @ 2 c a s t e l l i . c o m
www.2castelli.com
Informazioni / InformationCentro Culturale “Luigi Russo”, Via S. Agostino, 1 – Pietrasanta - tel. 0584/795500 - www.museodeibozzetti.it
S.T.ART è il coordinamento delle attività ed iniziative culturali e di promozione turistica del territorio S.T.ART is the coordination of the activities and initiatives related to Culture and to Tourist Promotion of the territory.
Con il patrocinio di / Under the patronage
Stampa / Printed
Quest’estate 2018 la Piazza del Duomo, la Chiesa ed il Chiostro di Sant’Agostino, ed il Pontile di Marina di Pietrasanta verranno animate dalle sculture, anche monumentali, dell’acclamato artista spagnolo Manolo Valdés, che ha già felicemente esposto le sue opere in diverse città europee, negli Stati Uniti ed in Cina. Promossa dal Comune di Pietrasanta, quest’ampia rassegna personale, poetica della traduzione, rappresenta un importante capitolo della poetica della traduzione, rappresenta un importante capitolo della poetica della traduzionecarriera artistica del Maestro Valdés e bene si inserisce nel percorso culturale della scultura di Pietrasanta. Le creazioni dell’artista, infatti, sia pittoriche che scultoree, si ispirano, interpretandole con spirito libero e moderno, con un pizzico di retaggio iberico, alle opere di alcuni tra i più grandi artisti della Storia dell’Arte, tra cui Velázquez, Rembrandt e Matisse. Ampliandosi e dilatandosi in grandi campiture e generosi volumi, le fi gure del Maestro Valdés si espandono in tutto lo spazio che le circonda, inglobandolo nell’opera, a partire dalle sontuose vesti alle magnifi che ed eccentriche capigliature, talvolta contenute in rigorosi, giganteschi cappelli, creando vivaci e continui dialoghi di luci e ombre, cui gli spettatori partecipano, anche a loro insaputa.Con poetica della traduzione a Pietrasanta, il Maestro Valdés parteciperà inoltre al Progetto Artistico del DAP - poetica della traduzione a Pietrasanta, il Maestro Valdés parteciperà inoltre al Progetto Artistico del DAP - poetica della traduzioneDanza in Arte a Pietrasanta – Festival, ed. 2018, i cui protagonisti saranno coinvolti con le proprie coreografi e nel mondo artistico del grande artista spagnolo, interpretandolo a loro volta.Ringrazio sentitamente Manolo Valdés, per aver contribuito ad arricchire Pietrasanta con le proprie creazioni, e la Galleria d’Arte Contini, che ha curato il progetto e l’allestimento di questo evento, che sarà di sicuro richiamo per la critica e per il pubblico.
Giuseppe PrioloCommissario
Pietrasanta, giugno 2018 Comune di Pietrasanta
On this Summer 2018, the Square of the Cathedral, the Church and Cloisters of Saint Augustine and the Pier of Marina of Pietrasanta will be animated by the sculptures, also monumental, of the acclaimed Spanish artist Manolo Valdés, who has already successfully presented his works in several European cities, in the United States, and in China. Promoted by the City of Pietrasanta, this large solo show, poetics of the translation, represents poetics of the translation, represents poetics of the translationan important chapter of the artistic career of Maestro Valdés and well inserts itself in the cultural course of Pietrasanta sculpture. In fact, the artist’s creation, both pictorial and sculptural, are inspired, with a free and modern interpretative spirit, that includes a taste of Iberian legacy, by the works of some of the greatest artists of Art History, among which Velázquez, Rembrandt and Matisse. By broadening and dilating themselves in large campiture and generous volumes, Maestro Valdés’ fi gures expand themselves all over the surrounding space, embracing it in the work itself, starting from the sumptuous dresses to the magnifi cent and eccentric hair, sometimes contained in rigorous, gigantic hats, creating in this way lively and continuous dialogues of lights and shadows, in which the viewers participate, even unconsciously.Furthermore, with poetics of the translation in Pietrasanta, Maestro Valdés will take part in the Artistic Project poetics of the translation in Pietrasanta, Maestro Valdés will take part in the Artistic Project poetics of the translationof the DAP - Dance in Art in Pietrasanta – Festival, 2018 ed., which protagonists will be involved with their choreographies in the artistic world of the great Spanish artist, by interpreting it in turn.I would like to sincerely thank Manolo Valdés, for having contributed to enrich Pietrasanta with his own creations, and the Contini Art Gallery, which has curated the project and the installation of this event, that will be of sure acclaim for the critics and the audience.
Giuseppe PrioloCommissioner
Pietrasanta, June 2018 City of Pietrasanta
Pietrasanta è una città magica che ogni anno rinnova la stagione estiva con un’importante esposizione.Quest’anno con Manolo Valdés Pietrasanta si arricchirà con dei capolavori già esposti nei più importanti musei e piazze del mondo.Dopo le grandi mostre di Botero e Mitoraj ed di altri grandi artisti, questa sarà un’ulteriore affermazione della qualità nelle scelte artistiche di Pietrasanta.Personalmente ritengo Valdés uno dei più grandi artisti contemporanei e sono certo che questa mostra sarà apprezzata e goduta nella sua grandezza artistica.Un ringraziamento mi è dovuto verso l’ex sindaco Massimo Mallegni ed attuale Senatore della Repubblica e a tutta l’Amministrazione Comunale.Un grazie particolare ed affettuoso a Manolo e Rosa Valdés che hanno permesso di realizzare questo sogno in terra toscana.
Stefano ContiniPresidente Galleria d’Arte Contini
L’arte nei suoi polisemici linguaggi è da sempre la cifra distintiva della Città di Pietrasanta, crocevia e culla di grandi artisti di fama internazionale che qui trovano i più qualifi cati laboratori artigiani del bronzo e del marmo. In questo contesto le monumentali sculture dello spagnolo Manolo Valdés che saranno esposte quest’estate nei luoghi simbolo di Pietrasanta, così come le sue creazioni pittoriche offriranno ancora una volta il segno tangibile del profondo legame tra la città e l’arte, fungendo da sicuro richiamo per numerosi visitatori dall’Italia e dall’estero così come per la critica specializzata. L’imponente personale di Valdés, dal titolo evocativo Poetica della traduzione, si snoderà dal centro cittadino fi no alla Marina, tracciando un ponte ideale tra l’arte contemporanea e i grandi maestri della storia a cui l’artista si ispira restituendo agli spettatori un linguaggio espressivo nuovo ed originale, che rende il suo stile immediatamente riconoscibile. Opere di indiscutibile bellezza ed originalità composte in un allestimento suggestivo ed armonioso che siamo molto orgogliosi di poter ospitare.Il mio particolare ringraziamento va alla Galleria d’arte Contini che dell’esposizione ha curato il progetto e all’artista stesso che ci offre oggi il suo personale contributo per rendere sempre più Pietrasanta città dell’arte e degli artisti.
Massimiliano Simoni Direttore Artistico Fondazione Versiliana
Pietrasanta is a enchanting city and each year it renews the summer season with an important exhibition. This year, with Manolo Valdés, Pietrasanta will be further graced by masterpieces previously shown in important museums and public spaces worldwide.After the large scale exhibitions of Botero, Mitoraj and other grand artists, this one will once again affi rm the quality of artistic presentations in Pietrasanta.Personally, my opinion is that Valdès is one of the greatest contemporary artists and I’m convinced that this exhibition will be appreciated and applauded for its artistic relevance. I would like to express my gratitude to the former mayor Massimo Mallegni, current Senator of the Italian Republic, and to the entire Municipal administrative offi ce. I wish to also extend particular gratitude to Manolo and Rosa Valdés, who have enabled us to realize this dream on Tuscan soil.
Stefano ContiniPresident, Contini Art Gallery
Art, in its polysemous languages, has always been the distinctive code of the City of Pietrasanta, crossroad and cradle of great artists of international fame, who here fi nd the most qualifi ed artisan workshops of bronze and marble.In this context, the monumental sculptures by Spanish Manolo Valdés, which will be shown this Summer in the symbol locations of Pietrasanta, just as his pictorial creations, will offer once more the tangible sign of the deep bond between the city and the art, acting as sure recall for numerous visitors from Italy and abroad as well as for the specialized critics. The imposing Valdés’ solo show, with its evocative title Poetics of the Translation, will unwind from the civic center until the Marina, by tracing an ideal bridge between the contemporary art and the great Masters of history, from whom the artist gets inspiration, by giving back to the viewers a new and original expressive language, which makes his style immediately recognizable. Works of unquestionable beauty and originality, assembled in an evocative and harmonious installation, that we are very proud of being able to host.My particular thank you goes to the Contini Art Gallery, that has curated the exhibition’s project and to the artist himself, who today offers to us his personal contribution in order to make Pietrasanta always more the city of the art and of the artists.
Massimiliano Simoni Artistic Director Versiliana Foundation
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L’esposizione di Pietrasanta vuole presentare insieme l’opera pittorica e scultorea di Manolo Valdés come un tutto che dialoga e si feconda nella realizzazione e nei suoi problemi quotidiani, tanto iconografici quanto materici. Non si vuole sottolineare l’interesse per la sua scultura in questa occasione con le opere di grandi dimensioni esposte nella Place Vendôme di Parigi, ma si intende porre l’accento su come scultura e pittura abbiano proceduto parallelamente nella pratica dell’artista sin dagli inizi.Per questa mostra abbiamo selezionato alcune sculture e dipinti di Valdés realizzati nel corso degli ultimi vent’anni (dai Desnudos del 1994 alle più recenti Odaliscas del 2017) grazie ai quali sarà possibile addentrarsi nell’estetica e nella filosofia dell’arte di questo grande artista. L’elenco è lungo: le grandi Cabezas di donna che fanno da sentinelle all’inizio e alla fine della mostra, il Caballero e la Dama a caballo, entrambi del 2005, che guardano alla storia della scultura equestre iniziata da Donatello nel Rinascimento, e le diverse teste di donna ora in legno con pittura epossidica blu ora in bronzo che ricordano le vecchie teste della storia dell’arte e che Manolo Valdés traduce nel suo particolare linguaggio, nella sua personale musicalità, a volte giocando con la duplicazione, come ne La Doble Imagen, o con il mondo della maschera, caratteristica dell’arte africana che feconda, agli inizi del XX secolo, la creazione di Picasso o di Brancusi come nell’eccellente Máscara del 2017.Valdés ha realizzato mostre individuali in ogni parte del mondo. In quasi trent’anni di attività in solitario Valdés ha ricevuto numerosissimi premi: nel 1984 gli viene assegnato il Premio Nacional de Bellas Artes di Madrid; nel 1985 gli viene concessa la Medalla Nacional de Pintura de Bellas Artes di Spagna; nel 1986 riceve la medaglia della Biennale al Festival Internazionale delle Arti Plastiche di Bagdad (Iraq); nel 1993 gli viene conferita l’onorificenza dell’Ordine di Andrés Bello della Repubblica del Venezuela, che l’anno precedente era stata conferita allo scultore Eduardo Chillida; nel 1999 viene chiamato a rappresentare la Spagna alla 48ª
edizione della Biennale di Venezia; nel 2005 riceve la medaglia di Chevalier dans l’Ordre du Mérite Culturel Monégasque, Principato di Monaco e nel 2007 quella di Officier de L’Ordre National du Mérit, Francia. Il critico del Financial Times, William Packer, presentando la 48ª Biennale di Venezia criticava il rappresentante britannico Gary Hume ed elogiava così l’opera di Manolo Valdés: “Perché Valdés, a 57 anni, trae ispirazione anche dai prodotti commerciali o dai riferimenti dati, che sia la borsa di un museo o un’opera particolare di Picasso o Matisse. Ma la differenza è che queste opere vengono rielaborate con una tale curiosità intuitiva sia tecnica che immaginativa, così estremamente disciplinata nell’esecuzione che porta sempre all’imprevisto e inaspettato. Le enormi teste-ritratto in legno, basate sui disegni di Picasso di quella che fu la sua amante Françoise Gilot, pulite, brillanti, incise o intarsiate in metallo sono per me la sorpresa più grande e piacevole della Biennale.” Quello stesso anno 1999 partecipa alla mostra collettiva Spanische Kunst am Ende des Jahrhunderts al Museo Würth di Künzelsau, la critica tedesca sottolinea il significato della sua scultura, poco conosciuta perché le mostre si sono concentrate esclusivamente sulla sua pittura, nonostante la scultura sia primordiale nell’artista fin dagli esordi in solitario.La scultura pubblica di Valdés, che viene presentata qui a Pietrasanta, nasce nel 1999 con un progetto per la città di Bilbao, che poi si dilata nel tempo. Nello stesso periodo gli viene affidato un grande progetto sulla Dama Ibérica per una delle rotonde della città di Valencia. Il primo schizzo a grande scala viene presentato all’inizio del 2002 al Park Avenue di New York. Nel 2003 viene realizzata l’installazione della Dama del Manzanares alta 13 metri per 8 tonnellate di peso ad Alcobendas nella comunità autonoma di Madrid. A Valencia nel 2007 viene installata infine la Dama Ibérica alta 14 metri e costituita da migliaia di piastrelle di ceramica, e nel 2009 viene installata a Montecarlo la Reina Mariana. Nello stesso anno la sua scultura viene presentata al Château Royal de Chambord in Francia e lungo la Broadway a New York. Nel 2015 le teste di Valdés vengono riunite in una mostra incredibile al Botanical Garden di New York e nel 2016 vengono installate nella piazza urbana per eccellenza, la Place Vendôme di Parigi.La scultura recente di Manolo Valdés è stata realizzata in edizioni fondamentalmente in bronzo, come le varie serie di teste di donna da Regina del 2005 a Irene del 2006 e Mariposas del 2008, ma anche in pezzi unici in legno e ferro, come Ariadna e Albertina del 2007 o Sienna
UNA POETICA DELLA TRADUZIONE: MANOLO VALDÉS
Odalisca, 2017Tecnica mistaMixed mediacm. 232 x 355
Katia II, 2002Bronzo patina verde scuro e acciaio dipintoBronze with darkgreen patina and painted steelcm. 183 x 56 x 74
Dama Iberica, Valencia, Spagna, 2007
Dama Park Avenue New York, 2002
Dama del Manzanares, Alcobendas (Madrid),Spagna 2003
Reina Mariana, Montecarlo, 2009
Chateau Royal de Chambord, Francia, 2009
Reina Mariana, Broadvay, New York, 2009
Reina mariana, 2001Legno / Woodcm. 175 x 118 x 80
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del 2008, o in ceramica come Iris del 2008, o in piombo come Regina o Lillie del 2008, o in opere in cui combina alabastro, legno e metallo come Mirta del 2009. Molte di queste esperienze di interrelazione tra testa e cappello, come Estella, 2008 e Las Mariposas, 2009 parlano di questa preoccupazione non per il piedistallo bensì per il copricapo, preoccupazione che ritroviamo costantemente in quel libro delle ore che è l’opera di Paul Klee. Un semplice disegno del 1928 (24 x 30 cm, Catalogo ragionato, vol. 5, n. 4568) di Paul Klee si intitola proprio Der Hut macht’s, ovvero il cappello lo fa, riesce a farlo. L’incastonatura dei materiali bronzo e ferro, attraverso il cappello, genera e crea nella scultura di Valdés una dinamica speciale.Nonostante ciò, Valdés è rimasto fedele al suo primo materiale scultoreo, che è il legno. Non lo dimostra solo con la monumentale opera Lillie in legno d’ulivo del 2016. Questa attenzione al legno in Valdés risale al 1982 quando utilizza legno di pino lavorato al tornio o quando allo stesso modo lavora al tornio il marmo nelle sue nature morte alla Morandi. Poi nel 1983 c’è un cambiamento dal geometrico all’organico, che coincide con l’utilizzo della tela da sacco in pittura. Negli ultimi anni Valdés ha usato il bronzo a partire dai modelli lavorati in polistirene espanso ai quali ha aggiunto materiali di scarto. Valdés li sa usare come Picasso sapeva usare la carta da giornale nella sua fase cubista. Molti bronzi sono stati fusi partendo da cartoni, o molti cappelli derivano da materiali riciclati, trascesi nella loro materialità.La proposta estetica di Valdés non è soltanto una delle proposte più valide in Spagna ma evidentemente una delle voci più originali nel panorama internazionale che riflette sulla storia dell’arte. In questo momento Valdés è l’artista spagnolo vivente più internazionale che gode di un apprezzamento straordinario negli Stati Uniti. Anche i temi delle sue opere ripercorrono la storia dell’arte, dalla rappresentazione dei cavalli nella scultura cinese alle immagini dell’arte europea, dal Rinascimento a Matisse o Klee e la Pop Art, o le icone della pubblicità della vita quotidiana del mondo americano, dalle borse del Metropolitan all’immagine del mito infantile Mickey Mouse, o la Ragazza con palla di Roy Lichtenstein, trasformata in scultura lignea. L’opera di Valdés è in questo senso un caleidoscopio di immagini dell’intera storia dell’uomo, un’alleanza tra civiltà, nel significato che a questo concetto dava lo storico dell’arte britannico sir Kenneth Clark (1903-1983) nel saggio dal titolo Civilisation: A Personal View del 1969: civiltà come qualcosa che va oltre la cultura antropologica, “civiltà come
un guardare consapevolmente in avanti e indietro”. L’opera di Valdés è una revisione continua del passato e un’elaborazione ininterrotta di un progetto di futuro, un mosaico che si compone di centinaia di frammenti, un’immagine che nasce dall’accumulazione di tante altre immagini, di sedimenti di tutte le civiltà e di tutti i tempi. Valdés crea questo mosaico con le tecniche dei nostri tempi, con il gesto materico, con il sovvertimento dell’ironia e l’attenzione alla storia.Nel senso della storia dell’arte Valdés mostra un territorio riutilizzato come campo di tiro, come campo prove, come discarica, come quaderno per gli appunti. Da un lato ci restituisce i dettagli come segreti, dall’altro risveglia in noi, potenziate dalla dimensione e dalla tessitura, dalla complicità e dal silenzio, l’immensità e la solitudine che la storia come un deserto di forme ci trasmette.A partire dal dettaglio e dal frammento, Valdés crea una nuova considerazione estetica, un nuovo paesaggio composto come un enorme fregio di sguardi. Tutta l’opera anteriore di Valdés si basa sul senso della parafrasi, delle mutazioni a cui sottomette l’immagine di altri, ovvero della traduzione. L’opera di Valdés si incentra e acquisisce dinamicità nella ricerca e considerazione di determinati dettagli della storia dell’arte o della pubblicità come nel caso di Frasco de Perfume del 1994, con i quali cuce la sua particolare tessera di esperienze estetiche, come spinto dalla necessità di rivedere, di ri-flettere continuamente le immagini dell’uomo, l’unico animale che lascia dietro di sé questo genere di tracce.Nel suo lavoro Valdés si avvicina allo storico dell’arte, è un grande conoscitore della storia dell’arte che raccoglie dati. Ma questa moviola che raccoglie dati e mette in azione Valdés non è una mera memorizzazione di altre opere né tantomeno una banale appropriazione patrimoniale. Attraverso di lei si produce un’immagine, è una zattera; o meglio, una almadía pirenaica, un’imbarcazione fluviale fatta di tronchi che bisogna comporre, la cui funzione primordiale è costruire “le storie già dipinte” mediante concreti elementi osservabili, percepibili. La memoria di Valdés raccoglie percezioni precedenti per creare la propria. Per questo l’œuvre di Valdés, nel suo complesso, si costruisce, lo ripeto, come una zattera con tronchi di alberi che a loro volta con-formano un’opera nuova che scivola lungo le stesse acque della storia dell’arte. È una memoria del dettaglio che “rende presenti” le grandi immagini del passato.Valdés frammenta, de-costruisce e ri-costruisce contemporaneamente,
El frasco de perfume sobre fondo amarillo, 1994Tecnica mista su tela di jutaMixed media on burlapcm. 169 x 131
Place Vendome, Parigi, Francia, 2016
Paul Klee, Der Hut Macht’s (The Hat Does it), 1928
Botanical Garden New York, 2015
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alternativamente, senza sapere in che ordine avvengono queste operazioni. Non importa che lo faccia con i volti o i paesaggi, con l’anatomia di un corpo o le nature morte. Tutto in lui è un’immensa riserva di frammenti che nelle sue mani si trasformano nuovamente in immagine.In questo accrochage analitico e barocco che è l’opera di Valdés le differenze tra le tecniche piuttosto che scomparire offrono una dimostrazione di coerenza. Tra il disegno progettato e il colore che lo fa scomparire, se si segue la forma delle sue composizioni, sembra che nella pittura l’immagine nasca da un’accumulazione di superfici, da un’aggiunta di cuciture, mentre nella scultura la produzione di un’immagine nasce dall’ibridazione di più punti di vista. Da una relazione che si stabilisce (in alcuni casi con Velázquez o Matisse, in altri con un flacone di Chanel o un orologio o dei semplici gelati) con una figura precedente. Ma che adesso prende corpo e vita in una dimensione differente e in un linguaggio che è altro, quello di Valdés. La riproduzione di una menina, o di un’infanta, decontestualizzata, individualizzata nella sua solitudine di legno o di bronzo, fa sì che l’immagine perda il suo valore, cessi di esistere per trasformarsi in sostanza di qualcos’altro. Si tratta di un’operazione linguistica: l’icona perde il suo valore e rimane alla mercé del trattamento che le dà Valdés come realtà, a partire dalla torsione che rappresenta il dettaglio visto come unità, che porta in sé quei riferimenti ma, al contempo, vita propria.Tuttavia Valdés si caratterizza per il suo linguaggio personale fatto di riferimenti visivi ma anche dotato di una morfologia propria basata sulla tessitura. Questa è data dall’utilizzo di determinati materiali e insieme dal modo di combinarli. Nelle sculture Valdés utilizza elementi di “saldatura”, elastici, eccetera, come false apparenze. È la tradizione di Julio González con l’impiego della saldatura come elemento espressivo. La manodopera di Valdés è perfetta, anche quando serve per dare l’impressione della rottura. Ed è in questa “impressione” di uso del supporto, di rottura delle forme, di de-costruzione che si ritrovano le radici del suo stile. Valdés guarda a Velázquez anche con gli occhi di Gauguin, come colui che guarda per riconquistare la purezza visiva, ciò che sta dietro al colore: la struttura. Ma lo guarda di fronte come guardano le maschere africane. L’arte africana interessa l’avanguardia degli inizi del XX secolo per due aspetti: la liberazione dalla precisione figurativa e l’enfasi formale nel delimitare e mescolare le tre dimensioni (quello che fa Picasso ne Les demoiselles d’Avignon). Accentuando gli aspetti formali e strutturali senza
limitarsi all’imitazione materiale, gli africani hanno padroneggiato l’arte astratta molto tempo prima degli europei, e questo lo ha visto chiaramente Valdés guardando il quadro di Velázquez.La Dama a caballo parte dal ritratto di Isabel de Borbón (ca. 1629), un quadro, secondo gli esperti, con un intervento limitato da parte di Velázquez forse solo alla parte anteriore e alla testa del cavallo. Ma senza ombra di dubbio l’immagine è stata strutturata dal pittore. Questo è quello che raccoglie Valdés: una struttura dove regina e cavallo conformano una posa, un’unità. E questa è la struttura che esce dal quadro, quella che Valdés fa precipitare, nella sua alchimia formale, nella sua storta di creatore, come una nuova entità, come scultura. Con questa Dama a caballo Valdés riconverte il ritratto equestre della tradizione quattrocentesca di Donatello e del Verrocchio, che negli ultimi secoli era stato alienato (per usare la terminologia marxista) dalla ritrattistica militare degli stati nazionali, in un permanente processo di inflazione. Ora con questa Dama a caballo Valdés posiziona il ritratto equestre in nuove coordinate di senso e di valore. Da un lato, nei suoi quadri trasforma la pittura di Velázquez in maschera; dall’altro, seguendo la lezione delle avanguardie del 1905 con lo sguardo posto sull’arte africana, supera l’immagine di Velázquez, nelle sue sculture, nel totem, nella fascinazione per il primitivo, nei pezzi di cartone che attraversano la frontiera del tempo. Valdés assorbe tutto quello che vede, e soprattutto si diletta parafrasando i suoi maestri, da Velázquez a Picasso, alle maschere africane. Valdés lavora come il cineasta Martin Scorsese, un artista che ha realizzato i suoi remake da altri film, ma nel cui sguardo, in tante inquadrature, è sempre presente la memoria di altri cineasti e altre scene: un cinema da voyeur del cinema, un com-positore di immagini in movimento, come Valdés.La storia delle forme è il tema di Valdés, e lo realizza con ordine, con eleganza, con il senso barocco della forma e con quell’intensità allo stesso tempo cordiale di chi sa che scrive in chiave musicale e dipinge con la saggezza delle avanguardie ma mettendo ogni cosa al suo posto.L’opera di Valdés è legata profondamente al colore, alla luce del Mediterraneo: il colore primario, il pigmento come sostanza che macchia un pezzo di tela o di sacco facendo sì che dalla materia emani la luce. C’è un fine nell’opera, nella composizione da parte di Valdés che non è lontano dalla complessità luminosa dei corpi, senza altro significato che il suo potere evocativo e la sua musicalità interna. Valdés ha sfidato la retorica a favore del trionfo dell’arte informale, della
Dama a caballo, 2012Bronzo / Bronzecm. 143 x 149 x 42
VelázquezIsabel de Borbónca. 1629
Dama a caballo en azul, 2017Tecnica mista su tavolaMixed media on boardcm. 190 x 190
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sproporzione, senza rinunciare all’equilibrio nel caos. La sua arte è un’estetica del disordine ma nella quale prevale l’armonia di ciò che è stato realizzato bene e dell’archetipo. E il suo linguaggio, la sua poetica della traduzione, è quello delle lingue della musicalità dell’alabastro, dell’alluminio, del bronzo e del legno, e della contestualizzazione della storia dell’arte nella personale partitura della creazione artistica, in questi dipinti e in queste sculture assolutamente originali che vediamo qua a Pietrasanta.
Kosme de Barañano
THE POETICS OF INTERPRETATION: MANOLO VALDÉS
The exhibition in Pietrasanta intends to present together the pictorial works and sculptures of Manolo Valdés as a “whole” that dialogues and is fecundated by creating and with everyday problems, which are iconographic as well as materic. This exhibition is not meant to underline the interest for his sculpture with works of monumental sizes, like those displayed in Place Vendóme in Paris, but it intends to place an accent on how sculpture and painting, from the beginning, have run parallel in the work of the artist.For this exhibition, we have selected several of Valdés’ sculptures and paintings created over the course of the last twenty years (from Desnudos (1994) to the more recent Odaliscas (2017), thanks to which it will be possible to further explore the aesthetics and philosophy of the art of this great artist. The list is long: the large Cabezas (Heads) of women that stand guard at the beginning and at the end of the exhibition, the Caballero (Gentleman) and the Dama a Caballo (Lady on the Horse), both from 2005, that look back on the history of equestrian sculpture begun during the Renaissance with Donatello, and the diverse heads of women in wood painted with a blue epoxy resin, or in bronze that recall the ancient heads from art history, which Manolo Valdés interprets in his own particular way of expression, with his musicality, often in a game of duplication as seen in La Doble Imagen (Double Vision), or with the world of masks, characteristic of African art, which towards the beginning of the 20th C, fecundated the creation of Picasso or Brancusi as in the excellent work, “Máscara” (Mask) in 2017. Valdés has produced one-man shows in every corner of the world. In nearly 30 years of solitary activity, Valdés has received many awards: in 1984 he was given the National Award of Fine Arts in Madrid; in 1985 the National Medal for Fine Arts Painting in Spain; in 1986 he received a medal from the International Biennial Festival of Plastic Arts in Baghdad; in 1993 the Honor from the André Bello Order from the Republic of Venezuela, which
Caballero, 2005Bronzo / Bronzecm. 289 x 246 x 123
Dama, 2005Bronzo / Bronzecm. 270 x 240 x 120
Mascara IV, 2017Bronzo / Bronzecm. 202 x 150 x 96
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the previous year had been bestowed upon the sculptor Eduardo Chillida; in 1999 he was called upon to represent Spain at the 48th Edition of the Biennial of Venice; in 2005 he received the Order of Cultural Merit from the Principality of Monaco and in 2007 he was named Officer of the National Order of Merit in France. The Financial Times critic, Willam Packer, during the presentation of the 48th Biennial of Venice, criticized the British representative, Gary Hume while praising the work of Manolo Valdés, “For Valdés, at 57, also draws upon mass-produced or given references, whether they be a museum carrier-bag or particular works by Picasso and Matisse. But the difference is that they are then worked with an intuitive curiosity both technical and imaginative, so highly-disciplined in the execution yet always leading to the unexpected, the un-previsioned. The massive wooden portrait heads, based upon Picasso’s drawings of his sometime mistress, Francoise Gilot, scoured, polished, incised and inlaid with metal, are for me the biggest and most pleasant surprise of the Biennale”. That same year 1999, at his participation in the collective exhibition, Spanische Kunst am Ende des Jahrhunderts (Spanish Art at the End of the Century), at the Würth Museum of Künzelsau in Germany, the German critic underlined the significance of his sculpture, less well known, because the exhibitions concentrated almost exclusively on his painting, despite the fact that sculpture is primordial in the artist ever since his debut in solitary.Valdés’ sculpture on public display, presented here in Pietrasanta, initiated in 1999 with a project for the city of Bilbao, which over time would expand. In that same period he received a commission for a large scale project on Dama Ibérica (Iberian Woman) to be placed on one of the rotundas in the city of Valencia. The first large model was presented at the beginning of 2002 on Park Avenue in New York. In 2003 the installation of Dama del Manzanares, 13 meters in height (42.6 ft) and weighing 8 tons at Alcobendas in the autonomous community of Madrid. In the city of Valencia in 2007, la Dama Ibérica was installed - 14 meters high (42.9 ft), and made of millions of ceramic tiles; in 2009 in Montecarlo the Reina Marina (Queen Marina) was installed. In that same year, his sculpture was presented at the Royal Château in Chambord (France) and exhibited along Broadway in New York. In 2015, the heads of Valdes were reunited in an incredible exhibition held at the Botanical Garden of New York and in 2016 they were again displayed in the urban piazza par excellence: la
Place Vendôme in Paris. The recent sculpture by Manolo Valdés was produced primarily in editions made of bronze, like the varied series of women’s heads: from Regina (2005) to Irene (2006) and Mariposas (2008), but also unique pieces in wood and iron such as Ariadne and Albertina (2007) or Sienna (2008) or in the 2008 ceramic work (Iris), or in lead like Regina or Lillie (2008), or in works that combine alabaster, wood and metal like Mirta (2009). Many of these experiences of inter-relations between head and hat, like Estella (2008) and Las Mariposas (2009) address a concern not for pedestals, but for head coverings, a concern that we constantly encounter in that book of hours, diagramed by Paul Klee. A simple design dated 1928 (24x30 cm, Catalogue raisonné, vol. 5, n. 4568) by Paul Klee was precisely entitled Der Hut macht’s, or The Hat Does It and continues to do it. The mounting of bronze or iron material through the image of a hat, generates and creates a special dynamic in Valdés’ sculpture. Nonetheless, Valdés has remained faithful to his love for the first material he utilized in sculpting: wood, which is demonstrated not only in the monumental work, Lillie in olive wood from 2016. This attention towards wood in Valdés dates back to 1982 when he utilized pinewood turned on a lathe or when in the same way, turned the marble on a lathe in his still-lifes à la Morandi. Later in 1983 a change from geometric to organic occurred, which coincided with the use of canvas sacks in his painting. Lately, Valdés has used bronze beginning with models worked in styrofoam to which he added waste materials. Valdés knows exactly how to use them just as Picasso knew how to use newspapers during his Cubist phase. Many bronzes were fused beginning with cardboard, or many hats derive from recycled materials, transcending their materiality. Valdés’ aesthetic proposal is not not only one of the most valid proposals in Spain, but with a clear advantage, one of the most original and reflexive voices on the international aesthetics of Art History. In this moment Valdés is the most international living Spanish artist who benefits from extraordinary recognition in the United States. Many of the themes in his work retrace the history of art, from the representation of horses in Chinese sculpture to the images of European art, from the Renaissance to Matisse or Klee and Pop Art…or icons from advertisements on everyday life in America - from the Metropolitan museum bags to the images of the legendary childish Mickey Mouse, or Lichtenstein’s Ragazza con palla (Girl with Ball), transformed into a wooden sculpture.The work of Valdés is in this sense
Dama Iberica,Valencia,Spain,1999
Dama, Park Avenue,New York, 2002
Dama del Manzanares,Alcobendas, Spain, 2003
Reina Mariana, Montecarlo,Monaco, 2009
Chateau Royal de Chambord,France
Broadway, New York, 2009
Botanical Gardens, New York, 2014
Place Vendome, Paris, 2016
Lillie, 2016Legno dipintoPainted woodcm. 165 x 204 x 190
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a kaleidoscope of images from the entire history of mankind, an alliance of civilizations, a significance that Sir Kenneth Clark (1903-1983), British historian of art gave to this concept in his essay entitled Civilisation: A Personal View, dated 1969: “Civilisation is consciously looking forward and back”. Valdés’ work is a continual review of the past and an uninterrupted elaboration of projected towards the future; a mosaic composed of hundreds of fragments, an image that is born from an accumulation of many other images, of sediments from all civilizations and from all ages in time. Valdés creates this mosaic with modern-day techniques, with thick materic plaster, with a subversion of irony and an attentive appreciation for history.In regards to art history, Valdés presents it as reusable territory like a firing range, like a test field, like a dumping ground, like a memo pad. On one hand he gives back details like secrets, on the other hand he awakens in us - strengthened by dimension and weaving, complicity and silence - the immensity and the solitude that history, like a desert of forms, transmits to us.By extracting details and fragments, Valdés creates a new form of aesthetics, a new landscape composed of an enormous frieze of glances. All the previous works of Valdés were based on a sense of paraphrases, of mutations to which he submits the image of others - the translation or interpretation. The work of Valdés focuses on and acquires momentum in the study and consideration of determining details from the history of art or advertising such as in Frasco de Perfume (Perfume Jar, 1994) where he builds his own tessera of aesthetic experiences, driven by the need to review, to continuously reflect upon the images of man, the only animal that leaves behind this type of footprints.In his work Valdés comes close to being an art historian; he is an expert on art history, collecting information, but this action camera that gathers data and drives Valdés is not a mere memorization of other works nor a simple appropriation of patrimony. Through it an image is produced - it’s a raft; or rather a Pyrenean almadía, a riverboat of tree trunks that must be made - and its primordial function is to construct “the stories already painted” through concrete, observable, and perceptible elements. Valdés’ memory collects previous perceptions in order to create his own. For this reason, the oeuvre of Valdes in its complexity, is constructed - and I repeat - like a raft with tree trunks which in turn conform to a new work that glides along the same waters of art history. His memory for details
gives a contemporary form to the great images of the past.Valdés fragments, deconstructs and reconstructs alternatively, without knowing in which order these operations will occur. It’s the same whether it’s done with faces, landscapes, with an anatomical bodies or with still-lifes. Everything about him is an immense reserve of fragments which his hands once again transform into images. In this analytical and baroque accrochage which defines the work by Valdés, the differences between the techniques, rather than disappearing, offer a demonstration of coherence. Between the projected design and the color that causes it to disappear - according to the form of his compositions - the image in the painting appears to have been created from an accumulation of surfaces, from the addition of seams. Meanwhile in his sculpture, the production of an image comes from the hybridization of varying points of view, from an interrelation that has been established (in some cases with Velázquez or Matisse, and in others with a bottle of Chanel or a watch or a simple ice cream), with a previous figure. This now becomes body and life in a different dimension and with a form of language that is something else…that of Valdés.The reproduction of a menina or of an infanta, decontextualized, individualized in its solitude form of wood or bronze, causes the image to lose its value, it ceases to exist and transforms itself into something else. It’s a linguistic operation: the icon loses its value and remains at the mercy of Valdés’ treatment to become a reality, beginning from the torsion that represents detail as unifying and brings with it those references, yet at the same time it brings real life. All considered, Valdés is known for his personal language made of visual references but also of a precise morphology based on texture. This is the result of his use of of specific materials together with the method used to combine them. In his sculptures Valdés utilizes elements of “soldering” - like gum - as a false appearance, in the traditional method of Julio González who uses soldering as an expressive element. This labour of Valdés is perfect, even when it is needed to give an impression of a fracture. In this “impression” of the use of supports, of fracturing the form, of deconstruction, lies the root of his style. Valdés looks to Velasquez with the eyes of Gaugin, as one who looks to reconquer the visual purity, that which is behind the color - the structure. But he looks at it from the front just as the African masks look towards us. African art affected the avant-garde movement from the beginning of the
Reloj II, 1998Tecnica mista su tela di jutaMixed media on burlapcm. 150 x 200
Menina, 2001Bronzo / Bronzecm. 21,8 x 20,3 x 13,2
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20th Century for two aspects: the freedom from figurative precision and the formal emphasis in delimiting and blending of the three dimensions (that which Picasso does in Les demoiselles d’Avignon; the Young Ladies of Avignon). In accentuating the formal and structural aspects without limits of imitating material, the Africans have dominated Abstract art long before the Europeans and Valdés clearly noted this while studying the Velázquez painting. The Dama a caballo (Lady on a Horse) is taken from the portrait Isabel de Borbón (ca. 1629), a painting, according to experts, with limited intervention on the part of Velázquez, perhaps only on the anterior and the head of the horse. But without a shadow of doubt, the image was structured by the artist. This is what Valdés gathers: a structure where the queen and a horse form a unified pose. This is the structure that leaves the canvas, which Valdès causes to precipitate into his formal alchemy, into a creator’s retort as a new entity - sculpture. With this Dama a caballo, Valdés reconverts an equestrian portrait from the 15th C traditions of Donatello and Verrocchio, who in the last centuries had been alienated (to use a Marxist terminology), from the national state military portraits, in a permanent process of annulment. In this Dama a caballo Valdés positions the equestrian portrait into a new set of coordinates of reason and merit. On one hand, in his paintings, he transforms the work of Velázquez into a mask; on the other hand, following the lessons of 1905 avant-garde and with a focus on African art, he goes beyond the image of Velázquez in his sculptures, in a totem, in his fascination for the primitive and in the cardboard pieces that cross the border of time. Valdés absorbs all that he sees and above all, he amuses himself by paraphrasing his maestros, from Velásquez to Picasso, to the African masks. Valdés works like the film producer Martin Scorsese, an artist that has produced remakes of other films, and in whose glance - in many many frames - there is the memory of other film producers and other scenes; a cinema, a com-poser of images in movement, like Valdés. The history of forms is the theme of Valdés, and he realizes it with order, with elegance, with a Baroque sense of form and with that same intensity, but hearty at the same time, with the knowledge of how to write in a musical key and to paint with the wisdom of the avant-garde artists, but putting everything in its place. Valdés work is profoundly reliant on color, on Mediterranean light: primary color, pigmentation as a substance that stains the canvas or burlap sacks,
allowing the light to filter through the material. On Valdés’ part there is a purpose in his work, in his composition, that does not distance itself from the luminous complexities of the bodies, and with no other significance, other than his evocative force and internal musicality. Valdés has defied rhetoric, in favor of a triumph for informal art and disproportionality without foregoing a sense of equilibrium in the midst of chaos. His art is and aesthetic of disorder yet harmony prevails over that which has been created well and over the archetype. His language of expression, his poetics of translation (interpretation) are the tongues of the musicality of the alabaster, of aluminum, of bronze, of wood and of the contextualization of art history in his own music score of creative artistry in these absolutely original paintings and sculptures on exhibit here in Pietrasanta.
Kosme de Barañano
VelázquezIsabel de Borbónca. 1629
Dama a caballo, 2014Alabastro / Albastercm. 83 x 82 x 19
Questo libro documenta l’esposizione di Pietrasanta che ripercorre gran parte della traiettoria in solitario di Manolo Valdés, dagli esordi negli anni ‘80 fi no ai giorni nostri. Dopo le prime opere materiche e le prime sculture che chiedevano di uscire da quei quadri intorno a Velázquez, la mostra si concentra maggiormente su altri sguardi tematici, specialmente degli ultimi dieci anni: i ritratti, le nature morte (i fl aconi di profumo, eccetera), le variazioni su Matisse, le maschere africane, la critica (dal suo interno) della storia dell’arte stessa. L’opera di Valdés è legata profondamente al colore, alla luce del Mediterraneo: il colore primario, il pigmento come sostanza che macchia un pezzo di tela o di sacco facendo sì che dalla materia emani la luce. La pittura come una revisione continua del passato e un’elaborazione ininterrotta di un progetto di futuro: un mosaico che si compone di centinaia di frammenti, un’immagine che nasce dall’accumulazione di tante altre immagini, di sedimenti di tutte le civiltà e di tutti i tempi. Valdés crea questo mosaico con le tecniche dei nostri tempi, con il gesto materico, con il sovvertimento dell’ironia e l’attenzione alla storia. La proposta estetica di Valdés non è soltanto una delle proposte più valide in Spagna, ma anche una delle voci più originali nel panorama internazionale che rifl ette sulla storia dell’arte.
This book documents the exhibition in Pietrasanta which will cover a large part of the solitary pathway followed by Manolo Valdés, begining from his debut in the 1980s up through the present day. After the fi rst materic works and the fi rst sculptures that pleaded to escape from those Velázquez-themed works, the exhibition will primarily concentrate on other themes, particularly those from the last ten years: the portraits, still-lifes, (perfume bottles, etcetera), variations on Matisse, African masks and his deep-rooted criticism of art history itself. The work of Valdés is profoundly bound to color, to Mediterranean light: the primary color, the pigmentation smeared on a piece of the canvas or the burlap sack in such a way that light is emanated from the matter. His painting is a continual review of the past and an uninterrupted elaboration projected towards the future; a mosaic composed of hundreds of fragments, an image that is born from an accumulation of many other images, of sediments from all civilizations and from all ages in time. Valdés creates this mosaic with modern-day techniques, with thick materic plaster, with a subversion of irony and an attentive regard for history. Valdés’ aesthetic proposal is not only one of the most valid in Spain, but is also one of the most original expressions internationally that refl ects on the panorama of art history.
22 23
30 31
La Pamela, 2015Alluminio / Aluminumcm. 386 x 720 x 650
32 33
Clio dorada, 2017 Ottone ed acciaio inossidabile
Brass and Stainless Steel cm. 550 x 1000 x 480
34 35
La doble imagen, 2015Marmo e acciaioMarble and steel
cm. 390 x 1000 x 360
36
Regina II, 2004Bronzo dipintoPainted bronze
cm. 375 x 300 x 275
37
38 39
Irene, 2006Bronzo dipinto / Painted bronze
cm. 388 x 400 x 300
40 41
Mariposas, 2017Alluminio / Aluminumcm. 370 x 900 x 300
42
Caballero, 2005Bronzo / Bronzecm. 289 x 246 x 123
Dama, 2005Bronzo / Bronze
cm. 270 x 240 x 120
44
L’opera di Valdés si incentra e acquisisce dinamicità nella ricerca e considerazione di determinati dettagli della storia dell’arte, con i quali cuce il suo particolare mosaico di esperienze estetiche. Valdés è un artista spinto dalla necessità di rivedere, di ri-fl ettere continuamente sulle immagini dell’uomo, l’unico animale che lascia dietro di sé questo genere di tracce. Per questo la sua opera si basa sul senso della parafrasi, della traduzione, o meglio delle mutazioni a cui Valdés sottomette l’immagine.
The work of Valdés focuses on and acquires momentum in the study and consideration of determining details from the history of art where he sews his own mosaic of aesthetic experiences. Valdés is an artist driven by the need to review, to continuously re-fl ect upon the images of man, the only animal that leaves behind these types of traces. For this reason his works are based on a sense of paraphrasing, of translation (interpretation), or rather of mutations to which Valdés submits the image.
48
Blue head, 2016Legno dipinto / Painted woodcm. 118 x 128 x 60
50
Blue Pamela, 2016Legno dipinto / Painted woodcm. 106 x 132 x 125
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Blue table, 2016Legno dipinto / Painted woodcm. 159 x 125 x 75
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Dama a caballo, 2012Bronzo / Bronzecm. 143 x 149 x 42
56
Caballero, 2012Alluminio / Aluminumcm. 157 x 140 x 60
58
Dama a caballo, 2014Alabastro / Alabastercm. 124 x 134 x 33
60
Dama a caballo, 2014 Alabastro / Albastercm. 83 x 82 x 19
Nelle “Cabezas” Valdés trasforma un genere, reifi ca il ritratto. È un’esperienza che inizia nel 1998 e di cui qui presentiamo alcuni esempi. Valdés decontestualizza l’atto del ritratto e lo trasforma in natura morta. Valdés riprende questo mondo della forma pura e trasforma in tema non il ritratto bensì il copricapo: cambia il genere, lo reifi ca in un’icona. La fi lologia plastica di Valdés è un linguaggio fatto di riferimenti visivi ma anche dotato di una morfologia propria basata sulla tessitura. Questa è data dall’utilizzo di determinati materiali e insieme dal modo di combinarli.
In Cabezas Valdés transforms a genre, reifi es portraiture. An experience that began in 1998 and from which we propose several examples. Valdés decontextualizes the act of making a portrait and transforms it into a still-life. Valdés takes this world from its pure form and transforms it into a theme, not a portrait, but rather a headpiece: he changes the genre and reifi es it into an iconic fi gure. Valdés’ philology of plastic art is an expression made of visual references but is also equipped with its own morphology based on woven fabric, resulting from the use of specifi c materials and the method used to combine them.
64
Alambres I, 2016Ferro e acciaio / Iron and steelcm. 128 x 118 x 35 cm
66
Alambres II, 2016Ferro e acciaio / Iron and steelcm. 134 x 80 x 95
68
Head I, 2017Alabastro e ferroAlabaster and ironcm. 150 x 95 x 40
70
Head II, 2017Alabastro e ferroAlabaster and ironcm. 110 x 85 x 30
72
Doble imagen 1, 2017Alluminio / Aluminumcm. 62 x 56 x 46
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Doble Imagen 2, 2017Alluminio / Aluminumcm. 62 x 56 x 46
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Doble imagen 3, 2017Alluminio / Aluminumcm. 62 x 44 x 32
78
Máscara IV, 2017Bronzo / Bronzecm. 202 x 150 x 96
80
Azul y blanco, 2016Alabastro e bronzo dipintoAlabaster and painted bronzecm. 42 x 28 x 14
82
Azul y blanco, 2017Alabastro e alluminio dipintoAlabaster and painted aluminumcm. 110 x 81 x 59
Fiore, 2017Alabastro e alluminioAlabaster and aluminumcm. 83 x 167 x 61
84
86
Ivy, 2017Alabastro e alluminioAlabaster and aluminumcm. 91 x 127 x 78
88
Cabeza blanca, 2017Alabastro e alluminioAlabaster and aluminumcm. 95 x 95 x 54
Orchids I, 2017Alabastro e alluminioAlabaster and aluminumcm. 76 x 197 x 45
90
Butterflies, 2017Alabastro e ottone patina dorata 24kAlabaster and 24K gold gilded brasscm. 53 x 106 x 60
92
Butterflies, 2017Alabastro e ferro / Alabster and ironcm. 90 x 270 x 40
94
96
Ivy, 2017Alabastro e ottone patina dorata 24kAlabaster and 24K gold gilded brasscm. 53 x 106 x 60
98
La Pamela, 2017Alabastro / Alabastercm. 105 x 150 x 146
100
La Lectora, 2006Bronzo / Bronzecm. 65 x 49 x 49
Mariposas, 2016Bronzo dipinto / Painted bronzecm. 80 x 200 x 65
102
104
Iris dorada, 2013Ottone patina dorataGold plated brasscm. 46 x 29 x 18
106
Juno, 2017Ottone / Brasscm. 85 x 65 x 42
108
Golden head and blue, 2017Ottone e resinaBrass and resincm. 33 x 55 x 16
110
Irene II, 2017Bronzo dipinto / Painted bronzecm. 75 x 75 x 61
112
Mariposa blanca, 2017Alabastro / Alabastercm. 77 x 55 x 25
La riproduzione di una menina, o di un’infanta, presa da un quadro di Velázquez, decontestualizzata, individualizzata nella sua solitudine di legno o di bronzo, fa sì che l’immagine perda il suo valore, cessi di esistere per trasformarsi in sostanza di qualcos’altro. Si tratta di un’operazione linguistica: l’icona perde il suo valore e rimane alla mercé del trattamento che le dà Valdés come realtà, a partire dalla torsione che rappresenta il dettaglio visto come unità, che porta in sé quei riferimenti ma, al contempo, vita propria.
The reproduction of a menina or of an infanta, taken from a Velázquez painting, decontextualized, individualized in its solitude of wood or bronze, causes the image to lose its value, it ceases to exist and transforms itself into something else. It’s about a linguistic operation: the icon loses its value and remains at the mercy of Valdés’ treatment to become a reality, beginning from the torsion that represents detail and seen as a unit that brings with it those references, yet at the same time it brings life.
116
Degas como pretexto, 1982Legno / Woodcm. 183 x 129 x 78,5
118
Mesa II, 1995Legno / Woodcm. 166 x 178 x 84
120 121
Libreria, 1996Legno / Wood
cm. 255 x 346 x 23
122
Reina Mariana, 2001Legno / Woodcm. 175 x 118 x 80
124
Lillie, 2016Legno dipinto / Painted woodcm. 165 x 204 x 190
Già negli anni ‘80 Valdés fa sì che la Reina Mariana esca dal quadro e acquisti volume. Valdés dell’opera di Velázquez non ci offre solo la sua versione pittorica bensì anche quella scultorea. Valdés vede che nei suoi oli non riesce a catturare tutte le qualità essenziali de Las Meninas, o della fi gura della Reina Mariana, ritratta da Velázquez. Ovvero si rompe l’unità tra l’essenza interna del soggetto e l’immagine esterna dipinta sulla tela, assunta nella tela. La rappresentazione vuole uscire per materializzarsi, trasformarsi in costruzione, per prendere corpo nelle tre dimensioni. Valdés lavora la materia nella pittura; la pittura diventa rilievo e alla fi ne l’immaginario di Valdés vuole diventare fi nalmente scultura.
As early as the 1980s, Valdés makes certain that the Reina Mariana escapes from the painting and acquires volume. Valdés not only offers us his pictorial version of a work by Velázquez, but renders also a sculptural form. Valdés observes that in his oils he is unable to capture all the essential qualities of Las Meninas, or of the fi gure in the Velázquez portrait of the Reina Mariana. That is to say, the unity between the internal essence of the subject is broken and the external image painted on the canvas is then received by the canvas. The representation must leave in order to materialize itself, to transform itself into a construction, becoming a body in all three dimensions. Valdés works on the matter in the painting; the painting becomes a relief and ultimately, Valdés’ imaginary fi nally wishes to become a sculpture.
128
Infanta Margarita, 2005Bronzo / Bronzecm. 205 x 202 x 142
130
Menina, 2001Bronzo / Bronzecm. 21,8 x 20,3 x 13,2
132
Infanta en blanco, 2016Alabastro / Alabastercm. 44 x 26 x 14
“L’arte di ogni epoca ha sempre in sé elementi del passato, l’arte si sussegue sempre, l’arte è un’accumulazione costante. Io non posso concepire un’opera come Matisse come un pretesto senza tempo tra lui e me, senza un cambiamento di scala e di materia, senza un’esperienza. Dipingere è accumulare, sommare, tutto si mescola. Ci sono artisti che pretendono di annullare tutto quello che li precede con la propria opera, ma forse è quello che ci precede ad annullarci, tutto è mescolato, niente annulla niente”.
Manolo Valdés
“Art from every era has always had an element of the past, art always follows a sequence, art is a constant accumulation. I cannot imagine a work like Matisse, as a timeless pretext between him and myself, without a change of dimension, of matter and without any kind of experience. To paint means to accumulate, a summation, all well-blended. There are artists who with their works, pretend to annul all that has preceded them, but perhaps it is exactly that which precedes us that ultimately annuls us…everything is a mixture; nothing annuls nothing”.
Manolo Valdés
136
Infanta Margarita, 1993Tecnica mista su legnoMixed media on woodcm. 150 x 105
138
Perfil con fondo azul, 1994Olio su tela di jutaOil on burlapcm. 193 x 163,5
140
El frasco de perfume sobrefondo amarillo, 1994Tecnica mista su tela di jutaMixed media on burlapcm. 169 x 131
142 143
Reloj II, 1998Tecnica mista su tela di juta
Mixed media on burlapcm. 150 x 200
144
Trébol II, 2009Tecnica mista su tela di jutaMixed media on burlapcm. 232 x 170
146
Dorothy sobre fondo gris, 2010Tecnica mista su tela di jutaMixed media on burlapcm. 240 x 215
148
Retrato con azul y amarillo, 1999Tecnica mista su tela di jutaMixed media on burlap cm. 235 x 161
150 151
Desnudo azul, 1995Tecnica mista su tela di juta
Mixed media on burlapcm. 170 x 228
152 153
Desnudo I, 2005Tecnica mista su tela di jutaMixed media on burlapcm. 151 x 217
154
Retrato en azules, 2017Olio su tela di jutaOil on burlapcm. 235 x 196
156
Retrato en rojo y blanco, 2017Olio e tecnica mista su legnoOil and mixed media on woodcm. 240 x 201
158
Dama a caballo en azul, 2017Tecnica mista su tavolaMixed media on boardcm. 190 x 190
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Odalisca, 2017Tecnica mistaMixed media
cm. 232 x 355
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Manolo Valdés nasce a Valencia, Spagna, nel 1942. Apprendista pittore già all’età di quindici anni, frequenta la San Carlos Academy of Fine Arts di Valencia. Nel 1962, partecipa all’Esposizione Nazionale di Belle Arti, presentando l’opera Barca (ora al Museo Nacional Centro de Arte Reina Sofía) nella quale già sono evidenti quelli che saranno gli elementi costanti della sua pittura: il tema figurativo e l’uso informale della materia. Valdés attinge molto dal patrimonio artistico spagnolo, in particolare da Velázquez e Picasso, e dall’informale dei suoi immediati predecessori.Alla fine del 1964, Valdés partecipa alla creazione del gruppo Estampa Popular, collettivo pioneristico di Pop Art spagnola, che si distingue per l’uso di immagini pubblicitarie, i prezzi popolari, l’utilizzo delle incisioni come supporto e una tematica prevalentemente basata sulla vita valenciana. Dopo quattro esposizioni individuali, il gruppo si scioglie. Sempre nel 1964, insieme a Rafael Solbes e Jean A. Toledo, Valdés partecipa al XVI Salone della Giovane Pittura di Parigi, ottenendo un grande successo di critica. Da questo sodalizio nasce il gruppo Equipo Crónica, che si differenzia dal precedente per il prevalente utilizzo della pittura e la scelta di una tematica più ampia, impersonale e fortemente influenzata dal movimento Pop, con uno sguardo critico verso la politica spagnola e la storia dell’arte. Toledo lascia il gruppo molto presto, mentre Valdés e Solbes continuano a lavorare insieme fino alla morte di quest’ultimo nel 1981.Nel 1983, Manolo Valdés ottiene un notevole successo anche nell’ambito della grafica e riceve il Premio Nazionale delle Arti Platiche. Vincitore, tra i tanti, del premio Nacional de Bellas Artes España nel 1985, le sue creazioni sono state oggetto di numerose esibizioni nazionali ed internazionali. Nel 1986, viene invitato a partecipare alla Biennale del Festival Internazionale di Arti Plastiche di Baghdad, dove ottiene la Medaglia d’Oro.A partire dal 1992, l’artista concentra il suo interesse sulla scultura e decide di aprire uno studio più grande a New York. Nel 2000, Valdés ritorna in Spagna e alterna i suoi soggiorni tra New York e Madrid. A Madrid realizza un insieme di sculture per l’Aeroporto Internazionale. Nel 2003 al Museo Guggenheim di Bilbao e nel 2006 al Museo Nazionale Reina Sofía, si tengono due importanti retrospettive, dove vengono riuniti tutti i suoi lavori degli ultimi venticinque anni. Da menzionare sono inoltre le esposizioni al National Art Museum of China Beijing e allo State Russian Museum di San Pietroburgo, oltre che le mostre delle sue sculture monumentali, esposte a Broadway, al Botanical Garden di New York, a Place Vendôme a Parigi e alla Ciutad de las Artes y las Ciencias di Valencia. Nel 2007 è stato inoltre insignito del titolo di Ufficiale dell’Ordine al merito dal Presidente della Repubblica Francese. Le opere di Manolo Valdés si possono trovare in numerose collezioni pubbliche e private, tra cui: Metropolitan Museum of Art (New York), Museum of Modern Art (New York), Musée National d’Art Moderne, Centre George Pompidou (Parigi), Museo Nacional Centro de Arte Reina Sofia (Madrid, Spagna), Fundaciòn del Museo Guggenheim (Bilbao, Spagna), Istituto Valenciano de Arte Moderno, Centre Julio Gonzalez (Valencia, Spagna), Kunsthalle (Kiel, Germania), Kunstmuseum (Berlino, Germania), Veranneman Foundation (Kruishoutem, Belgio), Les Terrasses du Casino (Monte Carlo, Monaco), e molti altri.Dal 2016 collabora con la Galleria d’Arte Contini, che lo rappresenta in esclusiva per l’Italia.Attualmente Manolo Valdés vive e lavora tra Madrid e New York.
BIOGRAFIA
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Manolo Valdes was born in Valencia, Spain, in 1942. At the young age of 15, he was already an apprentice as a painter while enrolled at the San Carlos Academy of Fine Arts in Valencia. In 1962 he participated in the National Exhibition of Fine Arts presenting his work, Barca (now in the permanent collection of the Queen Sofia National Museum of Art), which then contained elements that will later prove to be constant in his style of painting: the use of figurative art and the informal use of matter. Valdés taps on the resources of the historic Spanish patrimony, particularly from Velázquez and Picasso, and from the informal art of his immediate predecessors.At the end of 1964, he participated in the creation of the Estampa Popular, collective artistic group, ground-breakers of Spanish Pop Art, supported by the art critic Tomás Llorens. The Estampa Popular group stands out for the use of advertising images, popular prices, use of engravings as a support and for a theme mainly based on Valencian life. After four solo shows, the group dissolves. In 1964, together with Rafael Solbes and Jean A. Toledo, Valdés participated in the XVI Paris Young Painting Exhibition, gaining success from the critics. Equipo Crónica was born, which differs from the previous group for the prevalent use of painting, for the choice of a broader, impersonal theme and was strongly influenced by the Pop movement, with a critical look towards Spanish politics and art history. Toledo leaves the group soon after their first show, while Valdés and Solbes continue to work together until Solbes’ death, in 1981.In 1983, Manolo Valdés also gained considerable success in the field of graphics and received the National Prize for Plastic Arts. Prizewinner of many awards, amongst which the Spanish National Award of Fine Arts in 1985, his creations have been the subject of numerous national and international exhibitions. In 1986 he was invited to participate in the International Biennial Festival of Plastic Arts in Baghdad where he was awarded the Golden Medallion.Since 1992, the artist has concentrated on sculpture and subsequently, opened a larger studio in New York. In the year 2000, Valdés returns to Spain and alternates his sojourns between New York and Madrid. His last projects include the creation of a sculptures collection for the Madrid International Airport. In 2003 he held an important retrospective exhibition at the Guggenheim in Bilbao, curated by Kosme de Barañano; in 2006 at the Queen Sofía National Museum, where all of his works from the last 25 years were collected.Worth mentioning are also the exhibitions at the National Art Museum in Beijing, China, at the State Russian Museum in St. Petersburg, as well as his monumental sculptures displayed on Broadway, at the Botanical Gardens in New York and Place Vendôme in Paris e alla Ciutad de las Artes y las Ciencias di Valencia. In 2007, the title of Officer of the National Order of Merit was conferred upon him by the President of the French Republic.The works of Manolo Valdés can be found in numerous public and private collections such as: the Metropolitan Museum of Art (New York), the Museum of Modern Art (New York), the George Pompidou Center National Museum of Modern Art (Paris), the Queen Sofía National Museum Center for the Arts (Madrid, Spain), The Guggenheim Foundation (Bilbao, Spain), the Valenciano Institute of Modern Art and the Julio Gonzalez Center (Valencia, Spain), the Kunsthalle (Kiel, Germany), Kunstmuseum (Berlin, Germany), the Veranneman Foundaton (Krisuhoutem, Belgium), The National Art Museum of China (Beijing, China), Les Terrasses du Casino (Monte Carlo) and in many other locations.Since 2016, Valdés has collaborated with the Contini Art Gallery, which represents him exclusively in Italy.Currently Manolo Valdés lives and works in New York and Madrid.
BIOGRAPHY
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1965 Premio Biella, Comune di Biella, Milan, Italy
1979 Silver medal, 2nd International Biennial of Prints, Tokyo, Japan Prize, Bridgestone Museum of Art, Lisbon, Portugal
1985 La Medalla Nacional de Bellas Artes, Government of Spain, Madrid, Spain
1986 Medal of the Biennal, International Festival of the Plastic Arts, Baghdad, Iraq
1993 Condecoración de la Orden de Andrés Bello en la Clase de Banda Honor, Caracas, Venezuela
1997 XXXIIème Prix du Conseil National, La Fondation Prince Pierre de Monaco, Monte Carlo, Monaco
1998 La Medalla de Oro de Mérito en Las Bellas Artes, Ministerio de Cultura de Spain, Madrid, Spain
1999 Representative for Spain, La Esposizione Internacional d’Art, La Biennale di Venezia, Venice, Italy
2000 Premio Asociación Española de Críticos de Arte para Estampa, Asociación Española de Críticos de Arte, Madrid, Spain
Premio Asociación Española de Críticos Críticos de Arte ARCO, Asociación Española de Críticos de Arte, Madrid, Spain
2002 Premio Asociación Española de Críticos de Arte de Estampa, Asociación Española de Criticos de Arte, Madrid, Spain
2004 Premio Valenciano del siglo XXI, Las Provincias, Valencia, Spain
2005 Chevalier de l´Ordre du Mérite Culturel, Ordonnance Souveraine, Monte Carlo, Monaco
2006 Premio Archival Spain 2005, Madrid, Spain Doctor Honoris Causa, University Miguel Hernández, Elche, Spain
2007 Officier de L’Ordre National du Mérite, President of the French Republic, Paris, France
2010 Medalla Internacional de las Artes de la Comunidad de Madrid, Madrid, Spain
PREMI E ONOREFICENZEAWARDS AND HONORS
• Akili Museum of Art, Jakarta, Indonesia
• Arkansas Art Center, Little Rock, Arkansas
• ARTIUM, Centro Museo Vasco de Arte Contemporáneo, Vitoria, Spain
• Ayuntamiento de Alcobendas, Madrid, Spain
• Ayuntamiento de Bilbao, Bilbao, Spain
• Ayuntamiento de Ceutí, Murcia, Spain
• Ayuntamiento de Madrid, Madrid, Spain
• Ayuntamiento de Valencia, Valencia, Spain
• Centre d’Art Contemporain, Istres, France
• Comune di Siena, Siena, Italy
• Comunidad de Madrid, Madrid, Spain
• Congreso de los Diputados, Madrid, Spain
• Diputación Provincial de Valencia, Valencia, Spain
• Fonds National d’Arts Plastiques, Paris, France
• Foundation Veranneman, Kruishoutem, Belgium
• Frac-Collection Aquitaine, Aquitaine, France
• Fundación Juan March, Madrid, Spain
• Fundación Juan March, Palma de Mallorca, Spain
• Gemeinde Museum und Universität, Bremen, Germany
• Instituto Valenciano de Arte Moderno IVAM, Centre Julio Gonzalez, Valencia, Spain
• Hamburger Kunsthalle, Hamburg, Germany
• Hispanic Society of America, New York, New York
• Kansas City Museum, Kansas City, Kansas
• Kemper Museum of Contemporary Art, Kansas City, Missouri
• Konstmuseum, Norrköpings, Sweden
• Kunsthalle zu Kiel, Kiel, Germany
• Kunstmuseum, Berlin, Germany
• Kunstmuseum, Hanover, Germany
• Kunstmuseum Düsseldorf, Düsseldorf, Germany
• Landesmuseen Schloss Gottorf, Schleswig, Germany
• Legion of Honor Museum, San Francisco, California
• Maire de la Ville de Biarritz, Biarritz, France
• Moderna Museet, Stockholm, Sweden
• Musée Cantini, Marseille, France
• Musée de Grenoble, Grenoble, France
• Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France
COLLEZIONI PUBBLICHEPUBLIC COLLECTIONS
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• Musée Picasso, Antibes, France
• Musei Vaticani, Collezione Arte Religiosa Moderna, Vatican City State
• Museo de Albacete, Albacete, Spain
• Museo de Antioquia, Bogotá, Columbia
• Museo de Arte Contemporáneo, Cáceres, Spain
• Museo de Arte Contemporáneo, Sevilla, Spain
• Museo de Arte Contemporáneo Internacional Rufino Tamayo, Mexico City, Mexico
• Museo de Arte Contemporáneo Patio Herreriano, Valladolid, Spain
• Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela
• Museo de Arte Moderno, Medellín, Colombia
• Museo de Bellas Artes, Bilbao, Spain
• Museo de Bellas Artes, Caracas, Venezuela
• Museo de Bellas Artes de Álava, Vitoria, Spain
• Museo de Bellas Artes de Valencia, Valencia, Spain
• Museo de la Asegurada, Alicante, Spain
• Museo de la Solidaridad a Salvador Allende, Santiago, Chile
• Museo Es Baluard, Palma de Mallorca, Spain
• Museo Guggenheim Bilbao, Bilbao, Spain
• Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
• Museo Würth, La Rioja, Agoncillo, Spain
• Museum of Fine Arts, Boston, Massachusetts
• Museum of Fine Arts, Houston, Texas
• Nassau County Museum of Art, Roslyn Harbor, New York
• National Art Museum of China, Beijing, China
• Obra Social Fundación “la Caixa,” Barcelona, Spain
• Patty and Jay Baker Naples Museum of Art, Naples, Florida
• Pinacoteca do Estado, São Paulo, Brazil
• Saastamoinen Foundation, Espoo, Finland
• Espoo Museum of Modern Art, Espoo, Finland
• Senado Español, Madrid, Spain
• The Israel Museum, Jerusalem, Israel
• The Menil Foundation, Houston, Texas
• The Metropolitan Museum of Art, New York, New York
• The Museum of Modern Art, New York, New York
• The Speed Art Museum, Louisville, Kentucky
• The State Russian Museum, St. Petersburg, Russia
• Unión Española de Explosivos, Madrid, Spain
• Universidad Miguel Hernández de Elche, Elche, Spain
• Universidad Politécnica, Valencia, Spain
• Veranneman Foundation, Kruishoutem, Belgium
• Würth Museum, Kunzelsau, Germany
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2018 Manolo Valdés, poetica della traduzione, Piazza Duomo e Complesso di Sant’Agostino - Pietrasanta, Italy in collaborazione con / with the collaboration Galleria d’Arte Contini
Manolo Valdés in Dubai, Dubai, United Arab Emirates
Manolo Valdés in Singapore, Republic of Singapore
2017 Manolo Valdés, I dettagli luminosi, Galleria d’arte Contini, Venice, Italy
2016 Place Vendôme, París, France
Manolo Valdés. Recent Work – Paintings and Sculptures Marlborough London, United Kingdom
Manolo Valdés, Art Stage Singapore, Galerie Forsblom, Singapore
2015 Manolo Valdés: Visitando a los Maestros: Obra Gráfica, Sala Luis María Ansón Roquetas de Mar, Almería, Spain
2014 Manolo Valdés: Obra gráfica, Marlborough Madrid, Madrid, Spain
Pintura - Escultura - Obra sobre papel, Marlborough Barcelona, Barcelona, Spain
2013 Manolo Valdés: Paintings and Sculptures, Pera Museum, Istanbul, Turkey
Manolo Valdés. Obra reciente. Galería Freites, Caracas, Venezuela
Manolo Valdés: Sculptures and Works on Paper, Marlborough Gallery, New York, New York, USA
2012 Manolo Valdés. Fundación Gregorio Prieto, Valdepeñas, Ciudad Real, Spain
Manolo Valdés: Graphic Work. Marlborough Gallery, New York, USA
XXVI Biennale des Antiquaires. Marlborough Gallery New York, Grand Palais, París, France
Manolo Valdés. África and furthers inspirations. Beck & Eggeling Kunstverlag, Düsseldorf, Germany
Remixing History: Manolo Valdés, Georgia Museum of
Art, the University of Georgia, Athens, Georgia (through 2013), USA
Monumental Sculpture, The New York Botanical Gardens, Bronx, New York (through 2013), USA
2011 Manolo Valdés. Oeuvre graphiques, Marlborough Monaco, Monte Carlo, Monaco
Manolo Valdés. El archipiélago de la memoria. Centro de Cultura de Mahón; Sala de Cultura de Ciudadela, Menorca, Islas Baleares, España
Manolo Valdés. Picasso como pretexto, Sala de Exposiciones temporales organized by Fundación Picasso, Museo Casa Nata, Málaga, Spain (through 2012)
Manolo Valdés, Patty and Jay Baker Naples Museum of Art, Naples, Florida, USA (through 2012)
2010 Manolo Valdés. Obra gráfica, Galería Marlborough Madrid, Madrid, Spain
Manolo Valdés: À Chambord, Château du Chambord, Loir-et-Cher, France
Manolo Valdés: Monumental Sculpture on Broadway, Broadway Mall, New York, New York, USA
Manolo Valdés den Haag Sculpture. Lange Voorhout, The Hague, The Netherelands
Manolo Valdés. Marlborough Gallery, New York, Estados Unidos
Manolo Valdés, Marlborough Barcelona, Barcelona, Spain
Manolo Valdés: New Works, Galerie Forsblom, Helsinki, Finland
Manolo Valdés Obra Gráfica, Museo de Arte Español Enrique Larreta, Buenos Aires, Argentina
Manolo Valdés. Obra gráfica, Sala Paraninfo, Universidad de Cantabria, Cantabria, Spain
2009 Manolo Valdés. Escultura y pintura, Galería Marlborough, Madrid, Spain
Manolo Valdés. Escultura Monumental. Fundación La Caixa, Murcia, Málaga, Cáceres, Girona, Santander, Donostia, Caixaforum Madrid, Spain
25 Años. Manolo Valdés. Obra reciente. Pintura y escultura, Galería Benlliure, Valencia, Spain
PRINCIPALI ESPOSIZIONI PERSONALISELECTED SOLO EXHIBITIONS
Graphical. Manolo Valdés, Galería A. M. S. Marlborough, Santiago, Chile
Manolo Valdés. Los materiales Beck & Eggeling Kunstverlag, Düsseldorf, Germany
Galería Freites, Caracas, Venezuela
Manolo Valdés: Sculptures Monumentales à Saint- Tropez, Marlborough Monaco, Monte Carlo, Monaco; traveled to Saint-Tropez, France
Manolo Valdés. Sculptures monumentales. Jardins des Boulingrins, Monte Carlo, Monaco Manolo Valdés. Gráfico, Fundación CIEC, Betanzos, La Coruña, Spain
Manolo Valdés. Peintures et sculptures, Marlborough Monaco, Monte Carlo, Monaco
2008 Manolo Valdés: Recent Sculpture and Painting, Marlborough Chelsea, New York, New York, USA
Manolo Valdés: Las Meninas, The State Russian Museum, St. Petersburg, Russia
Manolo Valdés, Obra gráfica, Castillo Museo Santa Ana, Roquetas de Mar, Almeria, Spain
Manolo Valdés in San Francisco, San Francisco Arts Commission, San Francisco, California, USA
Manolo Valdés: Recent Editions 2000-2008, Marlborough Graphics, New York, New York, USA
Manolo Valdés in Beijing, National Art Museum of China, Beijing, China
Le Portrait de L’Infante y L’Amour Sorcier, Malandain Ballet, Biarritz, France
Galería Aurora, Murcia, Spain
2007 Manolo Valdés. Oeuvre sur papier, Galerie Maeght, Paris, France
Manolo Valdés at Bryant Park, Bryant Park, New York, New York, USA
Equipo Crónica. Crónicas reales, Fundación Juan March, Madrid, Spain; traveled to Museu d’Art Espanyol Contemporani, Palma de Mallorca, Spain; and Museo de Arte Abstracto Español, Cuenca, Spain
Manolo Valdés: New Works, Galerie Forsblom, Helsinki, Finland
Nassau County Museum of Art, Roslyn Harbor, New York, USA
Manolo Valdés: Las Meninas, Park Esplanade, Helsinki, Finland
Manolo Valdés: Perfiles, obra gráfica, Galería Marlborough, Madrid, Spain
Manolo Valdés, Galerie Maeght, Paris, France (through 2008)
Manolo Valdés at Miami Beach, Miami Beach, Florida, USA (through 2008)
2006 Manolo Valdés, Fondation Maeght, Saint-Paul de Vence, France
Manolo Valdés: Sculpture in the Garden, Desert Botanical Gardens, Phoenix, Arizona, USA
Equipo Crónica, 3 Punts, Barcelona, Spain
Manolo Valdés: Bilder-Bronze-Arbeiten Auf Papier, Beck & Eggeling Kunstverlag, Düsseldorf, Germany
Manolo Valdés, 1981-2006, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
Manolo Valdés: Las Meninas in Düsseldorf, Beck & Eggeling Kunstverlag, Düsseldorf, Germany
Les Menines, Musée des Années 30, Boulogne- Billancourt, France
Arte en la Calle, Manolo Valdés: Escultura Monumental, organized by Obra Social Fundación “la Caixa,” Barcelona, Spain; traveled throughout Spain to Valladolid, Córdoba, Valencia, Palma de Mallorca, Sevilla, Bilbao, Burgos, Barcelona, Zaragoza, Almería, Logroño, Salamanca, La Coruña,
Murcia, Málaga, Cáceres, Girona, Santander, San Sebastian and Madrid, Spain (through 2009)
2005 Manolo Valdés, Obra gráfica, Galería Estiarte, Madrid, Spain
Valdés, Museum Beelden aan Zee, The Hague, the Netherlands
Valdés, Palazzo Magnani, Reggio Emilia, Italy; exhibition traveled to Palazzo del Governo, Siena, Italy; and Fundación Caixa Girona, Girona, Spain
Manolo Valdés, Marlborough Fine Art, London, England
Manolo Valdés, Château de Chenonceau, Chenonceaux, France
Les Menines de Valdés, Jardins du Palais Royal, Paris, France; traveled to Pelikan Plaz, Zürich, Switzerland; and Palacio Príncipe, Oviedo, Spain
Manolo Valdés, Galería d’Art Arcadi Calzada, Olot, Gerona, Spain
2004 Manolo Valdés, Escultura monumental, Galería Marlborough, Madrid, Spain
Nuevos grabados, Galería Tiempos Modernos, Madrid, Spain
Manolo Valdés: Peintures et sculptures, Marlborough Monaco, Monte Carlo, Monaco
Galería La Aurora, Murcia, Spain
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Beck & Eggeling Kunstverlag, Düsseldorf, Germany
2003 Manolo Valdés, Obra Gráfica, Galería Estiarte, Madrid, Spain
Manolo Valdés, Galerie Forsblom, Helsinki, Finland
Manolo Valdés, Galerie Sonia Zannettacci, Geneva, Switzerland
Manolo Valdés, The Butler Institute of American Art, Youngstown, Ohi, USA
2002 National Museum, Damascus, Syria
La Dama at Park Avenue and 57th, Park Avenue Malls, New York
Manolo Valdés. Obra Gráfica, 1981-2002, Centro Cultural Casa de Vacas (Parque del Buen Retiro), Madrid, Spain
Manolo Valdés: Dibujos, Fundación BBK, Bilbao, Spain; traveled to Museo Gustavo de Maeztu, Estella, Spain; and Museo Nicanor Piñolé, Gijon, Spain
Stiftung Schleswig–Holsteinische Landesmuseen Schloss Gottorf, Schleswig, Germany
The Jordan National Gallery, Ammán, Jordan
Instituto Cervantes de Beirut, Beirut, Lebanon
Santral Istanbul, Bilgi University, Istanbul, Turkey
Instituto Cervantes de Tánger, Tangier, Morocco
Dar Sanaa, Escuela de Artes y Oficios, Tetuan, Morocco
Graphic Works, Galleria Il Gabbiano, Rome, Italy
Sculptures, Marlborough Gallery, New York, New York, USA
Manolo Valdés. Pintura y Escultura, Museo Guggenheim, Bilbao, Spain
Manolo Valdés: Graphic Works, Centro Portugal de Serigrafía, Lisbon, Portugal
Manolo Valdés, Kurt Art Gallery, San Sebastián, Guipúzcoa, Spain
Esculturas, Galería Marlborough, Madrid, Spain
2001 Los géneros. Retratos, bodegones y paisajes, Palacio de Congresos y Exposiciones of Castilla y León, Salamanca, Spain (sponsored by Fundación Cristóbal Gabarrón, Valladolid, Spain)
Manolo Valdés. Obras recientes, Gallery Marlborough, Madrid, Spain
Galería Montcada, Barcelona, Spain
Galería Zaragoza Gráfica, Zaragoza, Spain
Galería Durero, Gijón, Spain
Galería Eude, Barcelona, Spain
Graphic Works, Bob Stein Gallery, Saint Louis, Missouri
Galerie Art of this Century, Paris, France
Galerie Patrice Trigano, Paris, France
Manolo Valdés Como Pretexto. Bilder, Skulpturen, Arbeiten auf Papier, Beck & Eggeling Kunstverlag, Düsseldorf, Germany
Serie de la Reina Mariana, Tiempos Modernos, Madrid, Spain
Obra gráfica, Galería Juan Manuel Lumbreras, Bilbao, Spain
2000 Manolo Valdés: 1990-1999, Sala Quatre Cantons, Vilafamés, Spain; traveled to
Centre Municipal de Cultura, Castelló, Spain
Manolo Valdés: New Etchings, Marlborough Graphics, New York, New York, USA
Manolo Valdés. Pintura, escultura y grabado, Bilbao Arte, Bilbao, Spain
Las Meninas, Peggy Guggenheim Collection, Palazzo Venier dei Leoni, Venice, Italy
Gallery Espacio, San Salvador, El Salvador
Las Meninas, Gallery Estiarte, Madrid, Spain
Manolo Valdés, Sala de Exposiciones Sa Llonja, Palma de Mallorca, Mallorca, Spain
Gallery Heller, Madrid, Spain
1999 Campbell-Thiebaud Gallery, San Francisco, California, USA
Patio de la Mairie d’Anglet, Musée National d’Art Moderne, Centre
Georges Pompidou, Paris, France
Gallery A.M.S. Marlborough, Santiago, Chile
Museo de Arte Moderno “Aloisio Magalhaes,” Recife, Brazil
Sala de Exposiciones San Esteban, Murcia, Spain
Gallery La Aurora, Murcia, Spain
1998 Manolo Valdés: Recent Work, Marlborough Gallery, New York, USA; traveled to Gallery Marlborough, Madrid, Spain
Galerie Marwan Hoss, Paris, France
Manolo Valdés in Cardiff: Works from the Guillermo Caballero de Luján
Collection, Cardiff Central Library, Cardiff, Wales
Museo Nacional de Artes Visuales, Montevideo,
Uruguay
Gallery Durero, Gijón, Asturias, Spain
Gallery La Aurora, Murcia, Spain
Gallery Rosalía Sender, Valencia, Spain
Sala Nacional de Exposiciones, San Salvador, El Salvador
Gallery Pedro Torres, Logroño, Spain
Sala García Castañón de Caja Pamplona, Pamplona, Spain
1997 Centre Cultural Contemporani Pelaires, Palma de Mallorca, Spain
Museo Rufino Tamayo, Mexico City, Mexico
Museo de Monterrey, Monterrey, Mexico
Pinacoteca do Estado, São Paulo, Brazil
Museo Nacional de Bellas Artes, Buenos Aires, Argentina
Gallery Freites, Caracas, Venezuela
Gallery Maeght, Barcelona, Spain
Gallery Tiempos Modernos, Madrid, Spain
Gallery Bennassar, Palma de Mallorca, Spain
Centre d’Art Contemporain, Istres, France
Manolo Valdés: Graphic Works, Gallery Marlborough, Madrid, Spain
1996 Campbell-Thiebaud Gallery, San Francisco, California, USA
Gallery Palatina, Buenos Aires, Argentina
Cynthia Bourne Gallery, London, England
Galerie Sonia Zannettacci, Geneva, Switzerland
Instituto Valenciano de Arte Moderno IVAM, Centre Julio González, Valencia, Spain
Gallery Mario Sequeira, Braga, Portugal
1995 Galleria Il Gabbiano, Rome, Italy
Gallery Colón XVI, Bilbao, Spain
Gallery 11, Alicante, Spain
Gallery La Aurora, Murcia, Spain
Gallery Varrón, Salamanca, Spain
Gallery Torres, Bilbao, Spain
Gallery Marlborough, Madrid, Spain
1994 Marlborough Gallery, New York, USA
Veranneman Foundation, Kruishoutem, Belgium
1993 Palacio Almudí, Murcia, Spain
Gallery Freites, Caracas, Venezuela
Gallery Marlborough, Madrid, Spain
Sala Amós Salvador, Logroño, Spain
1992 Gallery Fandos, Valencia, Spain
Galerie Sonia Zannettacci, Geneva, Switzerland
Gallery Trama, Barcelona, Spain
1991 Marlborough Gallery, New York, USA
Gallery Guereta, Madrid, Spain
Gallery Fandos, Valencia, Spain
1990 Gallery Fandos y Leonarte, Valencia, Spain
Palacio Almudí, Murcia, Spain
Colegio de Arquitectos, Tenerife, Spain
Palacio Condes de Gaira, Granada, Spain
Caja de Ahorros, Burgos, Spain
Cultural Rioja, Logroño, Spain
Gallery Freites, Caracas, Venezuela
1989 Gallery Fandos y Leonarte, Valencia, Spain
Equipo Crónica 1965-1981, Instituto Valenciano de Arte Moderno IVAM,Centro Julio González, Valencia, Spain; traveled to Centro de Cultura Contemporánea de la Casa de la Caridad,Barcelona, Spain; and MuseoNacional Centro de Arte Reina Sofía, Madrid, Spain
Gallery Soledad Lorenzo, Madrid, Spain
Gallery Maeght, Barcelona, Spain
Gallery Sen, Madrid, Spain
Museo de Bellas Artes de Oviedo, Oviedo, Spain
Galerie Sonia Zannettacci, Geneva, Switzerland
1988 Gallery Maeght, Barcelona, Spain
Gallery Freites, Caracas, Venezuela
Galerie Adrien Maeght, Paris, France
Museo de Bellas Artes, Bilbao, Spain
Gallery El Coleccionista, Madrid, Spain
Gallery Luis Adelantado, Valencia, Spain
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Colegio Pío XII, Valencia, Spain
Gallery Atenas, Zaragoza, Spain
1971 Galerie Klang, Cologne, Germany
Galerie Poll, Berlin, Germany
Collegi d’Arquitectes, Barcelona, Spain
1970 Sala Honda, Cuenca, Spain
Gallery Val i 30, Valencia, Spain
1969 Gallery Cultart, Madrid, Spain
Gallery Grises, Bilbao, Spain
1968 Galleria l’Agrifolio, Milan, Italy
Gallery Val i 30, Valencia, Spain
Galleria Il Girasole, Rome, Italy
1967 Gallery Val i 30, Valencia, Spain
Gallery Barandiarán, San Sebastian, Spain
Sala Aixelà, Barcelona, Spain
1966 Sala Comunale, Ferrara, Italy
Sala Miqueldi, Bilbao, Spain
Gallery La Pasarela, Seville, Spain
1965 Galleria Il Centro, Turin, Italy
Sala Comunale, Reggio Emilia, Italy
Château de Tarascon, Tarascon, France
1987 Gallery Yerba, Murcia, Spain
Chicago International Art Exhibition, Chicago, Illinois, USA
Gallery 4, Valencia, Spain
Gallery Val i 30, Valencia, Spain
1986 Galerie Adrien Maeght, Paris, France
Gallery Parpalló, Valencia, Spain
1985 Kunsthalle Wilhelmshaven, Wilhelmshaven, Germany
Gallery Sen, Madrid, Spain
Gallery Roma y Pavía, Porto, Portugal
Gallery del Palau, Valencia, Spain
Gallery Maeght, Barcelona, Spain
1984 Galerie Poll, Berlin, Germany
Gallery Sa Pleta Freda, Mallorca, Spain
Gesellschaft für Aktuelle Kunst, Bremen, Germany
1983 Gallery del Palau, Valencia, Spain
1982 Gallery Val i 30, Valencia, Spain
Gallery Punto, Valencia, Spain
Gallery 4, Valencia, Spain
Gallery Maeght, Barcelona, Spain
1981 Kunsthalle Bremen, Bremen, Germany
Galerie Bonn, Bonn, Germany
Gallery Maeght, Barcelona, Spain
Sala de la Biblioteca Nacional, Madrid, Spain
1980 Gallery Yerba, Murcia, Spain
Galerie Poll, Berlin, Germany
Galerie Jürgen Schweinbraden, Berlin, Germany
1979 Gallery Juana de Aizpúru, Seville, Spain
Caixa d’Estalvis, Mataró, Spain
Galerie Maeght, Zürich, Switzerland
Gallery Juana Mordó, Madrid, Spain
1978 Gallery Maeght, Barcelona, Spain
Musée de Rochefort, Rochefort, Belgium
Sala Luzán, Zaragoza, Spain
Gallery Val i 30, Valencia, Spain
Gallery Cadaqués, Cadaqués, Spain
Galerie Maeght, Zürich, Switzerland
Gallery Punto, Valencia, Spain
Gallery Yerba, Murcia, Spain
1977 Galerie Flinker, Paris, France
Frankfurter Kunstverein, Frankfurt, Germany
Badischer Kunstverein, Karlsruhe, Germany
Kunstverein, Hannover, Germany
Galerie Poll, Berlin, Germany
Centro de Arte Contemporáneo, Porto, Portugal
1976 Gallery 42, Barcelona, Spain
Gallery Juana Mordó, Madrid, Spain
1975 Centro M-11, Seville, Spain
1974 Kunststichting Lijnbaancentrum, Rotterdam, Netherlands
Sala Juan XXIII, Córdoba, Spain
Gallery Val i 30, Valencia, Spain
Musée d’Art Moderne de la Ville de Paris, ARC, Paris, France
Galleria d’Arte Cavour, Milan, Italy
Maison de la Culture, Saint-Étienne, France
Maison de la Culture, Reims, France
Musée d’Art Moderne, Pau, France
Galerie du Fleuve, Bordeaux, France
1973 Gallery René Metrás, Barcelona, Spain
Arte Contacto, Caracas, Venezuela
Galerie Stadler, Paris, France
Llotja del Tint, Banyoles, Spain
1972 Gallery Juana Mordó, Madrid, Spain
Gallery Val i 30, Valencia, Spain
Casa del Siglo XV, Segovia, Spain
Gallery Tassili, Oviedo, Asturias, Spain
Stefano Contini - Manolo Valdés
Manolo Valdés, Kosme de Barañano, Stefano Contini
Rosa e Manolo Valdès, Kosme de Barañano, Stefano, Riccarda, Leonardo Contini
Riccarda e Stefano Contini, Kosme de Barañano
176 177
2017 Contini Art Gallery, ArteFiera Bologna, Italy
Contini Art Gallery, MiArt, Milano, Italy
TEFAF. Beck & Eggeling, Maastricht, Netherlands
Armory. Marlborough Gallery, New York, USA
ARCO. Marlborough Gallery, Madrid, Spain
Art Genève. Marlborough Gallery, Genève, Switzerland
2016 Equipo Crónica, Centro Cultural Bancaja, Fundació Bancaixa, Valencia, Spain
Toros en la pared. MUVIM (Museo Valenciano de la Ilustración y la Modernidad), Valencia.
Summer Group Exhibition. Marlborough Gallery, New York, USA
A Summer Exhibition. Marlborough Fine Art, London, United Kingdom
Art Salzburg. Kuntsalon, Beck & Eggeling, Salzburg, Austria
Art Genevé 2016. Marlborough Gallery, Genèva, Switzerland
ARCO ‘16. Marlborough Gallery, Madrid, Spain
Reflejos del Pop. Museo Carmen Thyssen, Málaga, Spain
Art Basel, Marlborough Fine Art London, Hong Kong, China
TEFAF, Marlborough Fine Art London, Maastricht, Netherlands
Art Central Hong Kong. Galerie Forsblom, Hong Kong
2015 Summer Group Exhibition, Marlborough Gallery, New York, USA
ARCO ‘15. Marlborough Gallery, Madrid, Spain
Art Basel, Marlborough Fine Art London, Hong Kong, China
TEFAF, Marlborough Fine Art London, Maastricht, Netherlands
Art Basel, Marlborough Fine Art London, Basel, Switzerland
De luces mixtas 2015. Marlborough Gallery, Madrid, Spain
2014 Summer Group Exhibition, Marlborough Gallery, New York, USA
De Luces Mixtas 2014. Marlborough Gallery, Madrid, Spain
TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands
Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland
ARCO ‘14. Marlborough Gallery, Madrid, Spain
2013 Fernando Botero, Richard Estes, Manolo Valdés: Pinturas y Esculturas, Marlborough
Gallery Monaco, Monte Carlo, Monaco
TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands
Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland
ARCO ‘13. Marlborough Gallery, Madrid, Spain
De Luces Mixtas 2013. Marlborough Gallery, Madrid, Spain
2012 ARCO ‘12. Marlborough Gallery New York, Madrid, Spain
Le Cabinet de Curiosités, Marlborough Gallery and Steinitz Gallery at 6 Harrison Street, New York, USA
Art Stage, Marlborough Fine Art (London) Ltd., Singapore
TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands
Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland
De Luces Mixtas 2012. Marlborough Gallery, Madrid, Spain
Summer Group Exhibition, Marlborough Gallery, New York, USA
2011 ARCO ‘11. Marlborough Gallery New York, Madrid, Spain
The Armory Show ‘11. Marlborough Gallery, New York, USA
Pasajes del cuerpo contemporáneo. Colleccion
PRINCIPALI COLLETTIVESELECTED COLLECTIVE EXHIBITIONS
Muram. Museo Regional de Arte Moderno, Cartagena, Murcia, Spain
De Goya a nuestos días. Colección Ibercaja. Patio de la Infanta, Zaragoza; Museo Diocesano, Barcelona, Spain
Summer Show. Marlborough Gallery Barcelona, Barcelona, Spain
De luces mixtas. Marlborough Gallery ,Madrid, Spain
Art Stage, Marlborough Fine Art (London) Ltd., Singapore
TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands
Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland
Exposition de groupe. Marlborough Monaco, Monaco
ESTAMPA ’11. Marlborough Gallery New York, Madrid, Spain
Colectiva de Obra Gráfica. Marlborough Gallery Madrid, Spain
2010 Look again. Marlborough Chelsey, New York, USA
Art Bolonia. Beck & Eggeling Internacional Fine Art, Bologna, Italy
ARCO ‘10. Marlborough Gallery New York, Madrid, Spain
Arte Español en la Colección del IVAM. Museum of urbanism, Shanghai, China
Anniversaire dix ans de la Galerie, 2000-2010. Marlborough Monaco, Monaco
Nolde Stiftung Seebül, Dependance Berlin, Berlin, Germany
Equipo Crónica y otros coetáneos del Pop Art español. Centro Cultural Bancaja, Alicante, Spain
TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands
Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland
La imatge actual dels Borja. Sala Coll Alas de la Escuela Pía, Gandía, Valencia, Spain
ESTAMPA ’10. Marlborough Gallery New York, Madrid, Spain
Beyond Limits. Chatsworth, Bakewell, Derbyshire, UK
Aniversario. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Sulpture. Twelve Independent Visions. Marlborough Chelsea, New York, USA
Marlborough: de 1946 a 2011. Galería Marlborough Barcelona, Barcelona
Escultura. Galería Marlborough Madrid, Madrid, Spain
2009 Colectiva de Invierno. Galería Marlborough Madrid, Madrid, Spain
ARCO ‘09. Marlborough Gallery New York, Madrid, Spain
La escultura en la colección del IVAM. IVAM, Valencia, Spain
Paintings +Sculpture. Marlborough Gallery, New York, USA
TEFAF Maastricht. Beck & Eggeling Internacional Fine Art, Netherlands
TEFAF Maastricht. Marlborough Fine Art London, Netherlands
The Armory Show. New York, USA
El jardín secreto. Group Show. Marlborough Barcelona, Barcelona, Spain
Art Cologne. Beck & Eggeling Internacional Fine Art, Colonia, Germany
Hong Kong Art Fair. Beck & Eggeling Internacional Fine Art; Galerie Forsblom, Hong Kong, China
Beyond Limits, Chatsworth House, Derbyshire, England
Works on Paper, Marlborough Gallery, New York, USA
TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands
Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland
Summer Exhibition. Marlborough Chelsea, New York, USA
Meninas-versus. Diez años después. Gallery Mácula. Santa Cruz de Tenerife, Islas Canarias, Spain
Summer Show. Galería Marlborough Madrid, Madrid, Spain
El espejo que huye. Palacio de Revillagigedo, Gijón, Spain
Encuentros de Pamplona 72: Fin de fiesta del arte experimental. MNCARS, Madrid, Spain
Art Basel Miami. Marlborough Gallery, New York, USA
2008 Don Juan. Galería Ekain Arte Lanak, San Sebastian, Guipúzcoa, Spain
Museo Picasso Barcelona, Barcelona, Spain
ARCO ‘08. Marlborough Gallery New York, Madrid, Spain
Figura Humana y Abstracción. Museo Würth, La Rioja, Spain
178 179
TEFAF, Marlborough Fine Art (London) Ltd., Maastricht, Netherlands
Art Basel, Marlborough Fine Art (London) Ltd., Basel, Switzerland
Spain. 1957.2007. Palazzo Sant’Elia, Palermo, Italy
Figuración narrativa, Paris 1960-1972. Gran Palais, País, Francia. Itinerante al IVAM, Valencia, Spain
Summer Show. Galería Marlborough Madrid, Madrid, Spain
Summer Exhibition, Marlborough Gallery, New York, USA
Summer Exhibition, Marlborough Chelsea, New York, USA
Group Show, Marlborough Monaco, Monte Carlo, Monaco
Obra Gráfica 10 de El País. Galería Marlborough Madrid, Marlborough Gallery, Barcelona, Spain
2007 Akili Museum of Art, Yakarta, Indonesia
ARCO ‘07. Marlborough Gallery New York, Madrid, Spain
La palabra imaginada. Museo Esteban Vicente, Segovia, Spain
Salon de L’Estampe. Galerie Maeght, Grand Palais, Paris, France
Art Cologne. Beck & Eggeling, Dusseldorf, Germany
Art Madrid. Madrid, Spain
Maastricht Art Fair, Beck & Eggeling, Dusseldorf, Germany
CIGE Beijing Art Fair. Pekín, China
Summer Show. Galería Marlborough, Madrid, Spain
Summer Exhibition. Marlborough Gallery, New York, USA
Aena. Colección de Arte Contemporáneo. Madrid, Spain
Shanghai Fine Jewellery and Art Fair, Shanghai, China
Painting and Sculpture, Marlborough Gallery, New York, USA
Galería D’Art Manel Mayoral. October, November and December, Barcelona, Spain
Art Basel Miami. Marlborough Gallery, New York, USA
Ink Miami 2007. Galería Marlborough, Miami, USA
2006 Sculpture. Marlborough Gallery, New York, USA
ARCO ‘06. Marlborough Gallery New York, Madrid, Spain
ARCO ‘06. Galerie Forsblom, Helsinki, Finland
Musiques. Art Paris. Galerie Sonia Zanetacci, Paris, France
TEFAF Maastricht. Feria Internacional de Arte y Antigüedades, Beck and Eggeling y Marlborough Fine Art, Netherlands
Art Cologne. Beck & Eggeling, Dusseldorf, Germany; Marlborough Gallery, New York, USA
Aena Colección de Arte Contemporáneo. Forum Barcelona, Barcelona, Spain
Artfiera Bolonia. Galerie Forsblom, Helsinki, Finland
Arte español del s. XX. Colección BBVA, Madrid, Spain
Crónicas de papel. IVAM, Valencia, Spain
CIGE Beijing Art Fair. Pekín, China
Obra gráfica original. Vic, Barcelona, Spain
Homenaje a Chillida. Guggenheim, Bilbao, Spain
Sobre el Humor, Galería Marlborough, Madrid, Spain
El cincel y la palabra. Fundación KUTXA, Sala Kubo, Kuursal, San Sebastián, Spain
Pintura, escultura y gráfica. Galería Marlborough, Madrid, Spain
ESTAMPA 2006. Madrid, Spain
2005 ARCO ‘05. Marlborough Gallery New York, Madrid, Spain
TEFAF Maastricht. Feria Internacional de Arte y Antigüedades, Beck and Eggeling y Marlborough Fine Art, The Netherlands
Art Cologne. Beck & Eggeling, Dusseldorf, Marlborough Gallery, New York, USA
Muestra de Escultura Pública: Artista españoles Contemporáneos. Consellería de Cultura de las Islas Baleares, Palma de Mallorca, Spain
Ediciones. Galeria Clave, Murcia, Spain
Galería Dieciséis, San Sebastián, Spain
Escultura y Paisaje. Palacio de Bendinat, Palma de Mallorca, Spain
Picasso to Plensa: A Century of Art from Spain. Alburquerque Museum, USA.
El Equipo Crónica en la colección del Ivam. Valencia, Spain; Exposición itinerante: Museo Nacional de Artes Visuales, Montevideo, Uruguay; Museo del Barro, Asunción, Paraguay; Centro Cultural Recoleta, Buenos Aires, Argentina; Centro Cultural Parque de Spain, Rosario, Argentin
The Moscow World Fine Art Fair. Moscu, Russia
Art Basel Miami. Marlborough Gallery, New York, USA
2004 ARCO ’04. Marlborough Gallery New York, Madrid, Spain
Fragmentos. Arte del XX al XXI. Colección de Pilar Citoler, Centro Cultural de la Villa, Madrid, Spain
Contraparada, Palacio de Almudí, Murcia, Spain
El siglo XX en la Casa del Siglo XV. Museo Esteban
Vicente, Segovia, Spain
Sculptures Monumentales à Saint-Tropez. La Citadelle, Saint-Tropez, France
Colección Aena de Arte Contemporáneo. Museo de Navarra, Pamplona, Spain
Sculpture Espagnole a Bordeux, Festival des Jardins 2004. Burdeos, France
Festival International de Sculpture de Monte-Carlo. Monte-Carlo, Monaco
Los años jóvenes: 1960 – 1970. Itinerante: Lonja del Pescado y Sala CAM, Alicante; Casal Solleric, Palma de Mallorca; Centro de Arte Palacio deAlmudí, Murcia, Museo del XIX, Valencia, Sala CAM, Elche; Sala CAM, Alcoy, Spain
25 años de arte y la Constitución. Lonja del pescado de Alicante, Alicante, Spain
De pictura. Círculo de Bellas Artes, Madrid, Spain
El Pop español. Los años sesenta. El tiempo reencotrado. Museo de Arte Contemporáneo Esteban Vicente, Segovia, Spain
New York, Marlborough Madrid, Spain
Colectiva pintores valencianos. Galería Nadir, Madrid, Spain
Estampa 2004. Madrid, Spain
Feria de Arte de Köln, Colonia, Germany
New York, New York. Centro CajaGranada, Granada, Spain
2003 ARCO ’03. Marlborough Gallery New York, Madrid, Spain
ARCO ’03. Madrid, Stand El País, Spain
Art Espagnol Contemporain, Marlborough Monaco, Monaco
+- 25 años de arte en Spain. Creación en libertad. MUVIM y Ataranzas, Valencia, Spain
El arte español del siglo XX. Museo del Corso, Roma, Italy
Art Chicago 2003. Marlborough Gallery, New York, USA
TEFAF Maastricht. Feria Internacional de Arte y Antigüedades, Netherlands
La Fête. Espace Bellevue, Biarritz, Francia. Itinerante: Museo Valenciano de la Ilustración y la Modernidad. Valencia, Spain
Espacios y modos. Más allá de los límites. Edificio Miller, Parque de Santa Catalina, Las Palmas de Gran Canaria, Spain
Isocronías. Alternativas en la III Trienal de Arte Gráfico. Calcografía Nacional de la Real Academia de Bellas Artes de San Fernando, Madrid, Spain
Portadas de Ababol. Palacio Aguirre de Cartagena
Fashion Art. Museo Nacional de Bellas Artes de Buenos Aires, Argentina
Inauguración de la Galería Alfonso XIII, Príncipe de Vergara, 203, Spain
Las Bellas Artes del siglo XX. Valencia 1940-1980. Salas de las Atarazanas, Valencia, Spain
Museo de Museos. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Palabras pintadas... Instituto Cervantes de Berlín, itinerante al Instituto Cervantes de New York, USA
2002 Otras meninas. Fundación Telefónica, Madrid, Spain
Figuras. Galería Mario Sequeira, Braga, Portugal
ARCO ’02. Marlborough Gallery New York, Madrid, Spain
FIA’02 Art Fair, Gallery Freites, Caracas, Venezuela
Art Miami ’02. Galería Freites, Miami, Florida, USA
Armory Show. New York. Art of this Century, USA
Art Brusels. Bruselas. Art of this Century, Belgium
Art Chicago 2002. Marlborough Gallery, New York, USA
San Francisco International Art Exposition. Marlborough Gallery, New York, USA
Summer Show. Marlborough Gallery, New York, USA
Art Basel. Marlborough Gallery, New York, USA
Galería Ekaín Arte Lanak, San Sebastián, Guipúzcoa, Spain
International Fine Print Dealers Association, Marlborough Graphics, New York, USA
Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA
50 Años de Pintura Española: del Informalismo a la Libertad. Centro de Exposiciones de Benalmádena, Málaga, Spain
Qué trata de España. Academia de España en Roma, Roma, Italia
De la postguerra al cambio de milenio. Sala de Exposiciones de la Politécnica de Valencia, Spain
Los años jóvenes: 1960 – 1970. Itinerante: Lonja del Pescado y Sala CAM, Alicante; Casal Solleric, Palma de Mallorca; Centro de Arte Palacio deAlmudí, Murcia, Museo del XIX, Valencia, Sala CAM, Elche; Sala CAM, Alcoy, Spain
Europe’s Image, Myth & Reality. Den Haag Sculptuur, La Haya, Netherlands
Les jeux dans l’art du XXème Siecle. Biarritz, Espace Bellevue, Francia. Itinerante: La Lonja – Palacio de Montemuzo, Zaragoza, Spain
180 181
Sculpture Espagnole.Galería Marlborough Monaco, Monaco
Miradas Distintas, Distintas Miradas. Paisaje Valenciano en el Siglo XX. Museo del Siglo XIX de Valencia, Spain, Itinerante:
Museo Gravina de Alicante , Spain (2003)
El siglo de Picasso. El arte español del siglo XX. Galería Nacional, Atenas. Itinerante a: Museo Nacional Reina Sofía, Madrid, Spain
Estampa, Madrid, Auriga Edicions, Spain
Galería Ármaga, León, Spain
III Trienal de Arte Gráfico. La estampa contemporánea. Centro Cultural CajAstur, Palacio Revillagigedo (octubre-enero,2003), itinerante aMuseo de la Ciudad y Calcografía Nacional, Madrid, Spain
2001 FIAC, Paris. Art of this Century, Paris, France
Estampa. Madrid. Auriga Edicions, Spain
Galería Ekaín Arte Lanak, San Sebastián, Guipúzcoa, Spain
ARCO ’01. Madrid, Marlborough Gallery, Madrid; Art of this Century, Paris, France
FIA’01 Art Fair. Galería Freites, Caracas, Marlborough Gallery, New York, USA
Art Miami ’01. Galería Freites, Miami, Florida, USA
Art Basel. Basilea. Art of this Century, Switzerland
Art Brusels. Bruselas. Art of this Century, Belgium
Baltimore Print Fair. Baltimore Museum of Art, Marlborough Graphics, New York, USA
Art Chicago 2001. Marlborough Gallery, New York, USA
Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA
Pop Impressions. Europe / USA. Saint Louis Art Museum, St. Louis, USA
Galería Art of this Century, New York, USA
Art Miami. Marlborough Gallery, New York, USA
TEFAF Maastricht. Feria Internacional de Arte y Antigüedades, The Netherlands
San Francisco International Art Fair. Marlborough Gallery, New York, USA
Bienal de Valencia. Valencia, Spain
Relevos: Valdés-Mascaró. Torre Caja Madrid. Obra Social Caja de Madrid, Madrid, Spain
Figuras. Visiones del Arte Contemporáneo. Centro Cultural Puerta Real, Granada, Spain
Un recorrido por el Arte Español del siglo XX. Alcalá
Subastas, Madrid
Cinquante ans de sculpture espagnole. Palais Royal, Paris, France
1972-2000 Galería Punto, Valencia, Spain
Propios y Extraños. Marlborough Gallery, Madrid, Spain
Group Sculpture Exhibition. Marlborough Gallery, New York, USA
Summer Show. Marlborough Gallery, New York, USA
La figura humana. Casa Primera de Oficios de San Lorenzo de El Escorial, San Lorenzo de El Escorial, Madrid, Spain
Esculturas en el Retiro. Paseo de Coches, Parque del Retiro, Madrid, Spain
VIII Salón de los Trece. Sala de exposiciones de la Fundación Altadis, Madrid, Spain
Manolo Valdés. New Editions, Marlborough Graphics, New York, USA
Art Cologne. Beck & Eggeling, Dusseldorf, Marlborough Gallery, New York, USA
2000 Feria de Basilea, Marlborough Gallery, New York, USA
Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA
Art Expo Chicago, Marlborough Gallery, New York, USA
ARCO ’00. Madrid, Marlborough Gallery, New York, USA
Estampa. Galería Sen, Madrid, Spain
Art Brusels, Art of this Century, Brussels, Belgium
Art Palm Beach, Marlborough Gallery, New York, USA
The Baltimore Contemporary Print Fair, Marlborough Graphics, New York, USA
International Fine Print Dealers Association, Marlborough Graphics, New York, USA
Seattle Print Fair, Marlborough Graphics, New York, USA
San Francisco International Art Exposition, Fort Mason Center, San Francisco, Marlborough Graphics, New York, USA
FIA’00 Art Fair, Galería Freites, Caracas, Marlborough Gallery, New York, USA
Art Miami ’00. Galería Freites, Miami, Florida, USA
St. Louis Print Market, Marlborough Graphics, New York, USA
Paintings, Marlborough Gallery, New york y Montecarlo, Monaco
Interarte, Galería Rosalía Sender, Valencia, Spain
Muestra de pintura y escultura latinoamericana. Galería Espacio, El Salvador
Elogio de lo visible, 27 artistas en torno a la figuración. exposición itinerante: Marlborough Gallery, Madrid; Caja de Ahorros de Murcia;
Centro Cultural “Las Claras”, Caja de Burgos; Centro Cultural “Casa del Cordón”, Cultural Rioja, Logroño, Würth Museum, Germany
Art at Work: Forty Years of the Chase Manhattan Collection. Queens Museum, New york; Houston Museum of Fine Arts, Houston, USA
Apuesta por el Arte. Universidad San Pablo CEU, Madrid, Spain
Propios y Extraños. Marlborough Gallery, Madrid, Spain
Summer Show. Marlborough Gallery, New York, USA
Group Show. Marlborough Gallery, New York, USA
Art Cologne. Beck & Eggeling, Dusseldorf, Marlborough Gallery, New York, Germany
Garaje: imágenes del automóvil en la pintura española del siglo XX. (Equipo Crónica: Rafael Solbes y Manolo Valdés).
Fundación Carlos de Amberes, Madrid, Spain. Itinerante. Centro Galego de Arte Contemporánea, Santiago de Compostela. Galería Vértice, Oviedo, Spain
Medio siglo de arte gráfico en el Museo de Jaén (1945- 1995). Museo Provincial de Jaén, Spain
Les Années Pop. Musèe National d’Art Moderne, Centre Georges Pompidou, Paris, France
1999 ARCO’99. Marlborough Gallery New York, Madrid, Spain
Les grands d’Espagne. Château de Villeneuve- Fondation Emile Hugues, Venice, France
Spanische Kunst Am Ende des Jahrhunderst. Würth Museum, Germany
Art Expo Chicago, Marlborough Gallery, New York, USA
Feria de Basilea, Marlborough Gallery, New York, USA
FIA’99 Art Fair, Galería Freites, Caracas, Marlborough Gallery, New York, USA
Art Miami ’99. Galería Freites, Miami, Florida, USA
International Fine Print Dealers Association, Marlborough Graphics, New York, USA
Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA
The Baltimore Contemporary Print Fair, Marlborough Graphics, New York, USA
St. Louis Print Market. Marlborough Graphics, New
York, USA
Spain is Different. Center for Visual Arts of Norwich, England; Museo de la Ciudad de Valencia, Spain
San Francisco International Art Expo. Fort Mason Center, San Francisco, Marlborough Graphics, New York, USA
Pop Impressions Europe-USA, Prints and Multiples from MOMA. New York, USA
Art at Work. Forty years of the Chase Manhattan Collection. Museum of Fine Arts and the Contemporary Art Museum, Houston, USA
Musée d’Art Contemporain, Vence, France
Sculpture of the Twentieth Century. Nassau County, USA
Museum of Art, Long Island, New York, USA
Manolo Valdés, Paintings. Larry Rivers, Pastels. Foundation Veranneman, Kruishoutem, Belgium
Estampa, VII Salón International del Grabado, Madrid, Spain
Pintura Valenciana del siglo XX. Centre Cultural Bancaixa, Valencia, Spain
Summer Show. Marlborough Gallery, New York, USA
Galería Heller, Madrid, Spain
1998 ARCO’98. Madrid, Marlborough Gallery, New York, USA
FIA ’98. Galería Freites, Caracas, Marlborough Gallery, New York, USA
Art Miami ’98. Galería Freites, Miami, Florida, USA
La Femme dans la Vallée. Museo Arqueológico de Aosta, Valle d’Aosta, Italy
Propios y Extraños. Marlborough Gallery, Madrid, Spain
IX Muestra de Pintura y Escultura Latinoamericana, Gallery Espacio, San Salvador, El Salvador
The Baltimore Contemporary Print Fair, Marlborough Graphics, New York, USA
Still Lifes: Prints and Photographs. Marlborough Gallery New York, New York, USA
Minneapolis Institute of Arts, Print and Drawing Fair, Marlborough Graphics, New York, USA
Marlborough Gallery, New York, USA
Interiores. Visiones íntimas de un siglo. Sala Alameda, Diputación de Málaga, Málaga, Spain
La Gran Vía de las esculturas. Valencia, Spain
Pinacoteca do Estado, Sao Paulo, Brasil
Museo de Bellas Artes, Buenos Aires, Argentina
Summer Show. Marlborough Gallery, New York, USA
182 183
Group Show. Marlborough Gallery, New York, USA
Art Expo Chicago. Marlborough Gallery, New York, USA
Arte BA’98, Buenos Aires, Marlborough Gallery, Argentina
International Fine Print Dealers Association, Marlborough Graphics, New York, USA
Estampa, VI Salón Internacional del Grabado, Madrid, Spain
FIAC’98. Paris, Marlborough Gallery, New York, USA
Galerie Marwan Hoss, Paris, France
Galerie Sonia Zannettacci, Ginebra, Switzerland
Pintura valenciana del Siglo XX. Centro Cultural Bancaixa, Valencia, Spain
Los encuentros de Pamplona, 25 años después. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Sobre Papel. Marlborough Gallery, Madrid, Spain
1997 ARCO’97. Madrid, Marlborough Gallery, New York, USA
Marlborough en La Aurora. Gallery La Aurora, Murcia, Spain
Alegorías de la muerte en el arte español contemporáneo. Fundación Mapfre-Vida, Madrid, Spain
Galería Thema, Valencia, Spain
Centre Municipal de Cultura La Mercé, Burriana, Valencia, Spain
Galería Estiarte, Madrid, Spain
Cinco Maestros de la Plástica. Galería Freites, Caracas, Venezuela
FIA’97 Art Fair, Galería Freites, Caracas, Marlborough Gallery, New York, USA
Art Miami ’97. Galería Freites, Miami, Florida, USA
Propios y Extraños. Colectiva, Marlborough Gallery, Madrid, Spain
Paisajes Urbanos. Marlborough Gallery, Madrid, Spain
Summer Show. Marlborough Gallery, New York, USA
Diez Años de Sueños. Gallery Clave, Murcia, Spain
Baltimore Print Fair. Baltimore Museum of Art, Marlborough Graphics, New York, USA
Art Expo Chicago, Marlborough Gallery, New York, USA
IFPDA Print Fair. Seventh Regiment Armory, Marlborough Graphics, New York, USA
Twenty-five Treasures. Campbell-Thiebaud Gallery, San Francisco, USA
XXXIIème Prix International d’Art Contemporain de Montecarlo, Fondation Prince Pierre de Monaco, Monaco
1996 ARCO’96. Madrid, Marlborough Gallery, New York, USA
Materialität und Spiritualität: Chillida, Saura, Tàpies, Equipo Crónica, Valdés. Städische Galerie Bietigheim- Bissingen, Germany
FIA’96 Art Fair, Gallery Freites, Caracas, Marlborough Gallery, New York, USA
Baltimore Print Fair. Baltimore Museum of Art, Marlborough Graphics, New York, USA
Il Cinema: Omaggio ai primi 100 anni del cinema. Galleria Il Gabbiano, Roma, Italy
Petits Formats: Grandes Oeuvres. Galerie Marwan Hoss, Paris, France
On Paper. Marlborough Gallery, New York, USA
Modern and Contemporary Masters. Freites-Revilla Gallery, Coral Gables, Florida, USA
Marlborough en Vértice. Gallery Vértice, Oviedo, Spain
Premio MARCO, Museo de Arte Contemporáneo Monterrey, México
Out of Wood. Rachel Adler Gallery, New York, USA
Su Carta-On Paper. Galleria Il Gabbiano, Roma, Italy
Galleria 1900-2000, Paris, France
Latin Viewpoints: Into the Mainstream. Nassau County Museum of Art, Roslyn Harbor, New York, USA
Art Chicago 1996 at Navy Pier, Chicago, Marlborough Gallery, New York, USA
IFPDA Print Fair. Seventh Regiment Armory, Marlborough Graphics, New York, USA
The Pop 60s: Transatlantic Crossing. Fundacao das Descobertas, Lisboa; Gallery Afinsa-Trindale, Porto; Gallery Afinsa-Almirante, Madrid, Spain
1995 ARCO’95. Madrid, Marlborough Gallery, New York, USA
Arte BA’95, Buenos Aires, Marlborough Gallery, New York, USA
Artists’Bouquets. Champion International Corporation Stamford, Connecticut, USA
Twenty-five Treasures. Campbell-Thiebaud Gallery, San Francisco, USA
Sala Parpalló, Valencia, Spain
Kiosko Alfonso, La Coruña, Spain
The Figure. Campbell-Thiebaud Gallery, San Francisco, USA
Out of Wood. Rachel Adler Gallery, New York, USA
IFPDA Print Fair. Seventh Regiment Armory, Marlborough Graphics, New York, USA
3 Continentes. AMS Marlborough Gallery, Santiago de Chile, Chile
Materialität und Spiritualität. Städtische Galerie, Delmenhorst, Germany
1994 ARCO’94. Madrid, Marlborough Gallery, New York, USA
Figures de l’Art d’Aujourd’hui. Galerie Marwan Hoss, Paris, France
Art After Art. Nassau County Museum of Art, Long Island, New York, USA
Spanish Art and the 3rd Dimension. The Modern Century. The Rotunda, Hong Kong, China
Spanish Art and the 3rd Dimension. The Modern Century. Lagoon Toner, Jakarta, Indonesia
FIA’94 Art Fair, Caracas, Marlborough Gallery, New York, USA
Vision of Masters. Freites – Revilla Gallery, Miami, Florida, USA
1993 Figure: Contemporary Sculpture. Marlborough Gallery, New York, USA
ARCO’93. Marlborough Gallery New York, Madrid, Spain
FIA ’93. Gallery Freites, Caracas, Venezuela
The Purloined Image. Flint Institute of Art, Flint, Michigan, USA
FIAC. Grand Palais, Paris; Galleria d’Arte Il Gabbiano, Roma, Italy
Art Miami ’93. Miami, Gallery Freites, Caracas, Venezuela
1992 Art a Espanya 1920-1990. Palau de la Virreina, Barcelona, Spain
ARCO’92. Madrid, Marlborough Gallery, New York, USA
On Paper. Marlborough Gallery, New York, USA
Chicago International Art Exhibition, Illinois, Marlborough Gallery, New York, USA
Arte en Spain 1965-1990. Museo Rufino Tamayo, México, D.F.; itinerante: Museo de Arte Moderno, Bogotá; Museo de Arte Contemporáneo
Sofía Imber, Caracas, Venezuela
Contemporary Art from Spain 1982-1992. Washington County Museum of Fine Arts, Hagerstown, Maryland, USA
Contemporary Spanish Artists. Marlborough Fine Art, Tokio, Japón
Arte BA’92, Buenos Aires, Marlborough Gallery, New York, USA
Art Asia. Hong Kong, Marlborough Fine Art, London, UK
1991 Gallery Leonarte, Valencia, Spain
ARCO’91. Madrid, Marlborough Gallery, New York, USA
Chicago International Art Exhibition, Illinois, Marlborough Gallery, New York, USA
10, Galerie Sonia Zannettacci, Ginebra, Switzerland
Amb Mompó. Centre Cultural Contemporani Pelaires, Palma de Mallorca, Spain
Summer Group Show. Marlbororough Gallery, New York, USA
Pop Art. Royal Academy of Art, Londres; Museum Ludwing, Colonia; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Team Spirit. Nueberger Museum, State University of New York, Purchase; Cleveland, Center for Contemporary Art,Ohio; The Art Museum of Florida International University, Miami; Scottsdale Center for the Arts, Scottsdale Cultural Council, Arizona; Winnipeg Art Museum, Manitoba
Laumeier Sculpture Park, St. Louis, Missouri; Salina Art Center y el Wichita Museum of Art, Salina y Wichita, Kansas, USA
Manolo Valdés; Bilder, Skulpturen, Grafik-Pablo Picasso: Grafik 1966-67. Galerie Marie-Louise Wirth, Zürich, Switzerland
Arte en Spain: 1920-1990. Palacio de Sástago, Zaragoza, Spain
1990 Um 1968, Konkret Utopien in Kunst und Gesellschaft. Düsseldorf, Germany; Zürich, Switzerland
15 Anys d’Art Español a la Gallery Maeght. Gallery Maeght, Barcelona, Spain
ARCO’90. Madrid, Marlborough Gallery, New York, USA
Chicago International Art Exhibition, Illinois, Marlborough Gallery, New York, USA
Marlborough en Pelaires. Centre Cultural Contemporani Pelaires, Palma de Mallorca, Spain
1989 Spanish Art in the 20th Century. Seibu Museum of Art, Tokyo y Osaka, Japan
Manolo Valdés y Antoni Tàpies. Galerie Adrien Maeght, Paris, France
Ambarcelona, Barcelona, Spain
El Arte Contemporáneo en las Colecciones Privadas Valencianas. Palau del Marqués de Campo, Valencia, Spain
1988 Cinco Siglos de Arte Español. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
184 185
L’Art Moderne a Marseille. Musée Cantini, Marsella, France
Salon d’Automne, Grand Palais, Paris, France
Exposición Homenaje a las Víctimas del Franquismo. Valencia, Spain
El siglo de Picaso. MNCARS, Madrid, Spain
1987 Arte Español en New york, 1950-1970. New york; Fundación Juan March, Madrid, Spain
Cinc siècles d’Art Español: El Siglo de Picasso. Musèe d’Art Moderne de la Ville de Paris, Paris; Museo Nacional Centro de Arte Reina Sofía,Madrid, Spain
ARCO’87. Madrid: Gallery Maeght, Barcelona. Gallery Estiarte, (obra gáfica), Madrid, Spain
Naturalezas Españolas. Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
La Fin des Années 60: d’une contestation l’autre. S.T. André de Maynac, E. N.A.C., Niza, France
25 años de Arte Español Contemporáneo. Sala Luzán, Zaragoza, Spain
Papiers colles. Universidad de Valencia, Valencia, Spain
1986 Museo de Arte Contemporáneo, Buenos Aires, Argentina
Museo de Artes Plásticas, Montevideo, Uruguay
Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela
Museo de Arte Moderno, Santo Domingo, Dominican Republic
Festival Internacional de la Artes Plásticas de Bagdad, Centro de Arte Jadam, Bagdad, Iraq
Medalla de la Bienal Internacional de Seoul de Arte y Cine, Juegos Olímpicos de Seoul, Corea
75 Anni di Protagonisti nell’Arte. Villa Malpensata, Lugano, Switzerland
1985 Figuration Narrative. Galeries d’Arènes et Jules Salles y Chapelle des Jésuites, Nîmes; Musée Cantini, Marsella, Spain
La Presencia de la Realidad en el Arte Español Contemporáneo. Porin Taide Museum, Alvar Aalto Museum, Sinebrychoffin Taidemuseo, Finland
Europäische Grtafik-Biennale Baden-Baden, Baden- Baden, Germany
The Chase Manhattan Bank, New York, USA
ARCO’85. Madrid, Gallery Val i 30, Valencia, Spain
Presencia de la René Metrás. Gallery René Metrás, Barcelona, Spain
1984 Homenaje a Max Beckmann. Galerie der Hochshule für Grafik und Bunchkunst, Leipzig Contemporary Spanish Art, Banco Exterior de Spain, Madrid; The Chase Manhattan Bank, New York, USA
ARCO’84. Madrid, Spain
Arte Español en el Congreso. Congreso de los Diputados, Madrid, Spain
Muestra Itinerante del Museo Salvador Allende. Valencia, Spain
1983 Art contra/against Apartheid. itinerante por France, Spain, Italy, Germany y USA, Kunstnernes Hus, Oslo, Norway
Bonjour Mr. Picasso. Musèe d’Antibes, Antibes, France
ARCO’83. Gallery Maeght, Madrid, Spain
Malmö Konsthall. Malmö, Sweden
1982 Quatre Images Séditieuses. Château de Jau, Jau, France
1981 Festival de Montrouge, Montrouge, France
El Retrato. Sala Parpalló, Valencia, Spain
Muestra Cultural del País Valenciano. Alcoy, Spain
Contraste de la última década. Gallery Theo, Madrid, Spain
Premio Cáceres de Pintura. Cáceres, Spain
El Arte en la Escuela. Escuela de San José, Valencia, Spain.
Panorama 81. Gallery Theo, Madrid, Spain
Homenaje a Picasso. Colegio de Médicos, Valencia, Spain
Arte Actual Valenciano. Salón de Cultura, Villar del Arzobispo, Valencia, Spain
Estampa Popular. Casa de Campo, Madrid, Spain
1980 De Picasso a Nuestros Días. Museo de Bellas Artes de Caracas, Venezuela
Vanguardia Española del Siglo XX. Museo de Bellas Artes, Monterrey, México
Exposición de l’A.C.A.A.C., Tenerife, Spain
Arte y Amnistía. Sala Parpalló, Valencia, Spain
1979 Nachbilder Kunstverein, Hannover, Germany
Exposition Hommage XX Anniversaire Révolution Cubaine, UNESCO, Paris, France
L’univers d’Aimé Maeght. Maison de la Culture, Rennes, France
11th International Biennale Exhibition of Prints in Tokyo, Tokyo, Japan
Images detourées. Centre Georges Pompidou, Paris, France
Festival de Lille; Les unes par les autres. Lille, France
Verwijzen Naar. Gallery Nouvelles Images-Imartect, The Hague, Netherlands
FIAC, Galerie Karl Flinker, Paris, France
Fiesta de la Iletra. Sala Gaspar i BCD, Ciento, Eudes, Prats, Barcelona, Spain
57 Artistas: Un País. Museo Histórico, Valencia, Spain
1978 FIAC. Paris, France
Pintura española del Siglo XX. México
Arte Feria’78, Bologna, Italy
Chile/País Valenciano. Consejería del País Valenciano, Valencia, Spain
1977 Mitologies Quotidiennes II. Musée d´Art Moderne, Paris, France
Biennale di Venezia, Fundación Miró, Barcelona, Spain
La Drapeau, Niza, France
1976 Els Altres 75 anys. Valencia, Spain
Homenaje a Duchamp. Sevilla, Spain
Colectiva, Galeria Frinker, Paris, France
Biennale di Venezia, Venecia, Italy
1975 Guernica. Kunstverein, Ingelstad, Germany
1974 FIAC, Paris, France
Pintura Valenciana, Sevilla, Spain
Proceso a la Violencia. Barcelona, Altea y Alicante, Spain
Exposición Colectiva de Arte Actual, Valencia, Spain
VIIIº Biennale de Paris, France
Spanskt. Lunds Konsthall, Lund, Sweden
1973 Pintores Españoles Contemporáneos, Rótterdam, Netherlands
1970 Ibiza Grafic, Ibiza, Spain
Arte Actual. Torre del Merino, Santillana del Mar, Spain
Homenaje a la Paloma. Gallery Vandrés, Madrid, Spain
Encuentros 72. Pamplona, Spain
Colectiva. Galerie Poll, Berlín, Germany
Feria del grabado, Basilea, Switzerland
Arte Actual Valenciano. Museo de Arte Contemporáneo, Sevilla, Spain
Internationaler Mark für Aktuelle Kunst. Düsseldorf, Germany
1969 Salón de Mai, Paris, France
Grabados Europeos Contemporáneos. La Habana, Cuba
Homenaje a Joan Miró. Granollers, Spain
Gráfica Española Actual. Museo de Arte Contemporanáneo, Sevilla, Spain
Homenaje a Josep Lluis Sert. Colegio de Arquitectos, Tenerife, Spain
1968 From Spain. Crossman Gallery, Wisconsin State University en Whitewater, USA
Bienal de Coltejer, Medellín, Colombia
II Bienale del´Estampe. Musée d´Art Moderne, Paris, France
Kunst und Politik. Karlsuhe, Wuppertal, Germany
Dibujos y grabados europeos. Gallery de la Habana, Cuba
Múltiples. Gallery Iolas Velasco, Madrid, Spain
Colectiva. Green Gallery, New York, USA
Eros en Spain. Gallery Vandrés, Madrid, Spain
Aspect du Racisme. Paris, France
Colectiva. Gallery Juana de Aizpuru, Sevilla, Spain
1967 Arte español contemporáneo. Gallery La Pasarela, Sevilla, Spain
Pictorama 1: Pintura al Aire Libre. Barcelona, Spain
1966 Art Vivant. Foundation Maeght, Saint-Paul de Vence, France
Jeune Peinture/Vietnam. Paris, France
Pluralita Viva, Martinengo, Italy
Tres Pintores Españoles. Savona, Italy
Gallery Val i 30, Valencia, Spain
Gallery L´Agrifoglio, Milan, Italy
1965 Le Monde en Question. Musée d´Art Moderne, Paris, France
187
Vicente Aguilera Cerni, Panorama del nuevo arte español. Guadarrama, Madrid, 1966.
Antonio Arco, Dama de Murcia. Una escultura de Manolo Valdés. Comune di Murcia, 2005.
Kosme de Barañano, Manolo Valdés. Ed. Polígrafa, Barcelona, 1999.
Kosme de Barañano, Valdés: pintura y escultura. Una visión retrospectiva. Guggenheim Bilbao-Art of this century, Bilbao-París, 2003.
Kosme de Barañano, Manolo Valdés. El artista en su taller. TF Ed., Madrid, 2003.
Kosme de Barañano, Manolo Valdés. Chasse, battue, lever l’histoire de l’art. Ed. de Château du Chambord, Loire, 2010.
Valeriano Bozal y Tomás Llorens, España: vanguardia artística y realidad social: 1936-1976. Ed. Gustavo Gili, Barcelona, 1976.
Valeriano Bozal, Tomás Llorens y Michèle Dalmace, Equipo Crónica: 1965-1981. Ministero della Cultura e Fondazione per l’aiuto alla Cultura, Madrid, 1989.
Valeriano Bozal, Manolo Valdés: maneras de mirar mundos. TF Ed., Madrid, 2001.
Michèle Dalmace, Equipo Crónica. Institut Valencia d’Art Modern, Valencia, 2001.
Tomás Llorens, Equipo Crónica. Ed. Gustavo Gili, Col. Nueva Órbita, Barcelona, 1972.
Jean Marie del Moral, La maison des peintres. Ed. Flammation, París, 2000.
VV.AA., Manolo Valdés. La intemporalidad del arte (textos de V. Bozal, M. B. Burke, J. M. Caballero Bonald, D. Cameron, G. Campbell, S. A. Consalvi, K. Cummings Suárez, K. de Barañano, C. Kesser, A. Muñoz Molina, J. F. Yvars, M. J. Bono y A. Noguera). Villegas Ed., Bogotá, 1999.
Vicente Verdú, La construcción del universo. La Dama del Manzanares de Manolo Valdés. Photographs by Javier Campano, TF Ed., Madrid, 2005.
MONOGRAFIE / MONOGRAPHS
XVIIIº Salon de la Jeune Peinture. Musée d´Art Moderne, Paris, France
MAN-67, Barcelona, Spain
Bande Dessinée et Figuration Narrative. Musée des Arts Décoratifs, Paris, France
Opera Grafica di Artisti Spagnoli, Galleria Il Giorno, Milan, Italy
Exposición de Arte Contemporáneo, San Sebastián y Barcelona, Spain
Festival d´Aubervilliers, Aubervilliers, France
Festival des Arts Plastiques de la Côte d´Azur. Antibes y Niza, France.
Salón Nacional de Tortosa. Tortosa, Spain
Stefano Contini - Manolo Valdés
Manolo Valdés. Peintures i escultures 1982 (testo di Valeriano Bozal: “Un modelo del mundo”, Tomás Llorens: “Començar de nou” y José F. Yvars: “Fantasía, orden, memoria. Sugerencias de interpretación”). Galería Maeght, Barcelona, 1982/1983.
Manolo Valdés. Bilder und skulpturen 1982-1984 (testo di Caroline Kesser: “Aus Demselben Schützengraben”). Galerie Poll, Berlín, 1984.
Manolo Valdés. Pintures i escultures (testo di Antonio Saura: “Cuadros de una exposición [Galería de Manolo Valdés]”). Galería Maeght, Barcelona, 1985.
Manolo Valdés (testo di Victoria Combalía: “Manolo Valdés: la pasión por la pintura”). Galería Trama, Barcelona, 1992.
Manolo Valdés. Pintura y escultura (testo di J. M. Caballero Bonald: “Manolo Valdés: ritual de la materia”). Galería Marlborough, Madrid, 1993.
Manolo Valdés. Pinturas y esculturas (testo di Glena Campbell: “The most weight, the great reality”). Campbell-Thiebaud Gallery, San Francisco, 1996.
Manolo Valdés (testo di Kosme de Barañano: “Manolo Valdés, el detalle como unidad”). Galería Marlborough, Madrid, 1998.
Manolo Valdés. Recent paintings (testo di Markus B. Burke: “Manolo Valdés: an appreciation of appropiation”). Acatos Gallery, Lausana, 1998.
Manolo Valdés. Obra reciente (testo di Antonio Muñoz Molina: “Manolo Valdés, con Manhattan al fondo”). Galería Marlborou-gh, Madrid, 2002.
Manolo Valdés (testo di Fiamma Arditi: “In viagio con las Meninas”). Il Gabbiano Edizioni d’Arte, Roma, 2002.
Pintar palabras (testo di Jon Juaristi y Pablo Rico). Instituto Cervantes, Madrid, 2003.
Manolo Valdés. Recent work (testo di Kosme de Barañano: “Valdés: material and memory”). Marlborough Fine Art London, Londres, 2005.
Les Menines de Valdés (testo di Kosme de Barañano: “Les trois dimensiones chez Valdés”). París, 2005.
Manolo Valdés 1981-2006 (testo Maria José Salazar), Museo Nacional Centro de Arte Reina Sofía, Madrid, 2006.
Manolo Valdés. Retrospectiva (testo di Kosme de Barañano: “Historical reception”). Museo Estatal Ruso, San Petersburgo, 2008.
Manolo Valdés (testo di Chu Teh-Chun). Museo Nacional de China, Pekín, 2009.
Manolo Valdés. Obra reciente (testo di Kosme de Barañano: “La voz solar de Manolo Valdés”). Galeria Benlliure, Valencia, 2009.
Manolo Valdés: Picasso como pre-texto (testo di Kosme de Barañano). Fundación Pablo Ruiz Picasso, Málaga, 2010.
Naturaleza muerta en la pintura española. Siglos XX-XXI. Galería Marlborough, Madrid, 2016.
Valdés: una visión personal (testo di Kosme de Barañano). Fundacion Bancaja, Valencia, 2017.
PRINCIPALI CATALOGHISELECTED CATALOGUES
Questo catalogo è stato stampato l’8 giugno 2018, stesso giorno in cui, nel 1504, il Davide di Michelangelo fu presentato per la prima volta al pubblico a Firenze.This catalogue was printed on June 8, 2018, the same day on which Michelangelo’s “ Dav id ” was presented in Florence to the public.
Peruzzo Industrie Grafi cheMestrino (PD)
www.grafi cheperuzzo.it