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DIRECCIÓN | MANAGEMENT Albano
periscopio #9 Edición no venal de 25 + VI ejemplares Numerados a mano y personificados
EDICIÓN | EDITION
84
18
21
por el autor
Beatriz Aymat Ejemplar nº
ASISTENTE DE EDICIÓN ASSISTANT EDITOR Marta Malo
Pertenece a
PRODUCCIÓN | PRODUCTION Caroline J. Lowel
DISEÑO | DESIGN Marta Malo
TEXTOS | TEXTS Alonso de Sousa
Alfonso de la Torre, Javier Caballero, Beatriz Aymat y Albano
TRADUCCIÓN | TRANSLATION
solsticio de capricornio / 2016
José Luis Aymat
CONTENIDOS
AGRADECIMIENTO FOTOGRAFÍAS THANKFULNESS IMAGES David García Torrado Fundación Ankaria
www.albanoartist.com © Textos y fotografías. Las puertas están abiertas,
Tapa | Cover
entren, vean y copien.
O Tempo.
DEPÓSITO LEGAL
Antonio de Ávila, 2016
AV. 99-2013
54
12
Si puedes soñarlo If you can dream it puedes hacerlo. you can do it. Walt Disney
2 y 3 PÁRRAFOS
A LAS ORILLAS DEL CAM
ON THE BANKS OF THE CAM Beatriz Aymat
A pocos metros del Green Dragon fluye el río Cam, cuya corriente nos anima y acompaña en las últimas albas del año impulsándonos hacia devenir; con ideas de futuro y acogiendo lo nuevo presentamos la novena edición de Periscopio, que no es hija de Mnemosine y Zeus, pero es una realidad. Aunando vista y olfato, las colecciones Ars Citerior y olorVISUAL, nos provocan una experiencia distinta del arte en Hipocamps, que nos transporta al mundo de los sentidos y la memoria de sus coleccionistas. También veremos como la exposición Vanidades, Intelecto, Espiritualidad, aborda, a través de las obras seleccionadas, tres aspectos inherentes de la condición humana. Con gozo compartimos la celebración de la Semana Cela en el Circulo de Bellas Artes, la obra Atlantis galardonada en el Certamen Artemisia, “El acierto de Albano” en La Vanguardia, la edición del libro de artista “Grecia. Destino. Invisible” premiado por la Fundación Ankaria y la exposición From the Studio Floor, donde vio la luz, a poca distancia del King’s College, la primera obra sobre fieltro expuesta en Reino Unido. Viajamos junto a Walt Disney, cuya magia nos ha acompañado desde niños en el fluir de nuestras vidas. ¡Gracias por embarcar con nosotros! A few meters from the Green Dragon flows the River Cam, which flow encourages and accompanies us in the last dawns of the year pushing us towards becoming; with ideas for the future and welcoming the new we present the ninth edition of Periscopio, which is not a daughter of Mnemosine and Zeus, but a reality. Combining sight and smell, the ‘Ars Citerior’ and ‘olorVISUAL’ collections, provoke us a different experience of art in Hipocamps, which takes us to the realm of the senses and the memory of their collectors. We will also see how the exhibition Vanidades, Intelecto, Espiritualidad, tackles, through selected works, three specific aspects of the human condition. With joy we share the celebration of the Cela’s Week in the Circulo de Bellas Artes, the work Atlantis awarded in the Artemisia’s Contest, “El acierto de Albano” at the La Vanguardia newspaper, the edition of the artist book “Grecia. Destino. Invisible” awarded by the Ankaria Foundation and the exhibition From the Studio Floor, where it saw the light, within walking distance of King’s College, the first
Albano, Tate Obra de | Work of Dominique Gonzalez-Foerster Séance de Shadow II (bleu) 1998,
work on felt shown in United Kingdom. We travelled along with Walt Disney, whose magic has been with us since childhood in the flow of our lives. Thank you for coming on board with us!
LAS PINTURAS POSIBLES
VICTRIX ATLAS 1520
Las negras dudas no se apartaban del horizonte. Ellos no buscaban la victoria, tan sólo su significado. Por ello, aquí y ahora, somos libres. VICTRIX (fragmento)
VICTRIX | ATLAS 1520 60x40 cm. Óleo, acrílico,esmalte y grafito sobre papel. 23 5⁄8 x 15 3⁄4 in. Oil, acrylic, enamel and graphit on paper. Colección Privada | Private Collection
CAMBRIDGE F R O M
T H E
S T U D I O F
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THE GUILDHALL
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Obras de | Works of Suzi Morris y Albano
SPONSORED BY
SUPPORTING
RETBA | ATLAS 1626 60x40 cm. Acrílico,esmalte y grafito sobre fieltro. 23 5⁄8 x 15 3⁄4 in. Acrylic, enamel and graphit on felt.
COLECCIÓN ARS CITERIOR V I
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CENTRE DEL CARME
ESTRATO | ATLAS 1421 Albano, 2014
Obras de | Works of Hernández Pijuan, Hugo Fontela, Albano, Damián Díaz y Vicente Vela.
[...] Inclasificable el trabajo de Albano, poético viaje autorreferencial entre el signo y la imagen extinguida. [...] [...] it’s unclassifiable Albano’s work, a poetic and self-referential journey between the sign and the extinct image. [...]
Alfonso de la Torre
FERIA ESTAMPA
TALLER DEL PRADO
RIVIERA | ATLAS 1639 Albano, 2016
ALTERNATIVAS LA VANGUARDIA
TOMÁS PAREDES 28 / 08 / 2016
ALBANO’S SUCCESS Tomás Paredes Is triumph his success? No. The success is his capacity to find and surprise himself in each piece. His restlessness. At the time when his style was selling more, and he was more appreciated, he abandons it to start other worlds, without leaving his own plastic world. His success is taking chances, jumping into space without a safety net. His success was the Bosch’s green, still being, but now between whites, water blue colours, chromatic marks, chess boards, stars, mysterious drippings of colours and a cubist scent to perfume his concrete magic emotion. Albano, Ávila 1988, is the most awarded young painter in Europe. He publishes “Periscopio”, an outstanding equinoctial magazine, a memory of his journey. He will be at Estampa and at the Thrifts Walk Studios in Cambridge, where he lives. A man with history, in his full youth, and with everything yet to come.
EL BOSCO | 5th CENTENARY 102 x 65 cm. Óleo, acrílico,esmalte y grafito sobre papel. 40in x 25 19⁄32in. Oil, acrylic, enamel and graphit on paper. Colección Ochoa-Cañigueral | Ochoa-Cañigueral Collection
EL BOSCO (fragmento)
THE MAKERS C O N S T R U C T I V O
27 / 10 / 16
ANOTAR Atlas 1637
ALEJAR Atlas 1634
VERSAR Atlas 1635
DISTRAER Atlas 1633
MEDIR Atlas 1636
Obras de | Works of Anthony Caro, Dis Berlin, Eduardo Chillida, Albano, Rosa Muñoz, José Luis Mazarío, Ángel Vergara y Daniel Verbis
HIPOCAMPS COLECCIÓN OLORVISUAL & COLECCIÓN ARS CITERIOR
MUA
Museo Universidad Alicante
Works of | Obras de Antonio Murado, Joan Hernández Pijuan, Eduardo Chillida, Albano, Rosa Muñoz y José Luis Mazarío.
ALBANO
Pep GARRO
Miguel ALBERQUILLA
Rafael GRASSI-HIDALGO
José Luis ALEXANCO
Josep GUINOVART
Elena ALONSO
Joan HERNÁNDEZ PIJUAN
Fernando ALMELA
Teun HOCKS
Waldo BALART
Jean-Baptiste HUYNH
Javier BALDA
Alex JASCH
Toño BARREIRO
Antoine LAVAL
Dis BERLIN
José Luis MAZARÍO
Mónika BUCH
Joaquim MICHAVILA
Ricardo CAVADA
Rosa MUÑOZ
Miguel Ángel CAMPANO
Antonio MURADO
Anthony CARO
Bruno OLLÉ
Calo CARRATALÁ
PEREJAUME
Eduardo CHILLIDA
José Miguel PEREÑÍGUEZ
Chema COBO
Xavi PUENTE
Garikoitz CUEVAS
Gerardo RUEDA
Jesús ETXARTE – EVRU
Maya SARAVIA
Juan Manuel FERNÁNDEZ PERA
Anett STUTH
Robert FERRER I MARTORELL
Julio VAQUERO
Hugo FONTELA
Daniel G. VERBIS
José GALLEGO
Ángel VERGARA
Cristina GARCÍA-RODERO
José Mª YTURRALDE
HOMENAJE C A M I L O J
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CÍRCULO DE BELLAS ARTES
EX-LIBRIS | ATLAS 1318 Albano, 2013-16
Obra de | Work of Linda de Sousa. Página siguiente | Next page Homenaje a Camilo José Cela.
EX-LIBRIS | ATLAS 1318 (fragmento)
MEMORIA M
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A D O L F O S U A R E Z Y
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CONSTRUYENDO LA LIBERTAD | ATLAS 1631 Albano, 2016
ABECEDARIO GREGUERíAS
AEPE
“La B es el ama de cría del alfabeto”
“The letter B is the wet-nurse of the alphabet”
Ramón Gómez de la Serna
AYUNTAMIENTO DE MADRID MONCLOA - ARAVACA
P R E M I O ARTEMISIA
PRIMER PREMIO
PREMIO L I B R O
D E
A R T I S T A FUNDACIÓN ANKARIA
ENTREVISTA E S Q U I R E
JAVIER CABALLERO
I WOULD LIKE YOU GREEN Javier Caballero
The BMW Painting Prize meant the leap in his career. Albano develops his passion, painting, from Cambridge. The fields of Castilla inspired the work of Antonio Machado, first published in 1912. A century later, in 2012, those landscapes earned the painter Albano Hernández, as a source of inspiration for his paintings, to win the BMW Painting Prize of that year. Albano Hernandez (Ávila, 1988), or Albano, as he prefers, began painting very early. “It’s documented, I have a photo (of myself) painting in a town in Segovia at 6 years old”. He stopped in his teenage years, but having to repeat ninth grade made him rethink his way, and art was presented itself as the best option. “It is a lifestyle. At the age of 14 I took it seriously, and worked until I was 18 so I could present myself to the prize.” He refers to the BMW Painting Prize, which in 2006 earned him the Mario Antolín scholarship. “When I won the scholarship, I could not resubmit. It served to promote, had a projection, I did not understand why they would then cut you off.” Fortunately, the bases changed, and in 2009 and 2010 he settled for the Medal of Honor until, he won the award in 2012. “It is the most important prize of my career. I do not know if I would have arrived somewhere else or not without it, of course the repercussion that has and its organization does not have any other. Two days after winning, Albano celebrated his wedding with his wife, with whom he now lives in Cambridge. “It was all very fast, I was notified on a Thursday and I was getting married on Saturday. There were many interviews and a proposal to exhibit in Uruguay.” And he did, where he also had the opportunity to know another style of life and to approach the painting. “I met people who had never seen a Picasso, even though they were passionate about art, because of the economic possibilities.” Why Cambridge? “In Madrid I was unable to paint, and could not do so in University. I need to be in the countryside. Cambridge gives me that, it’s designed for studying and it there is plenty of scenery.” Like the one around him in his hometown, Avila, responsible for his first pictures to print a strong green. “It comes from the subconscious, from the fields of Castilla, when I was traveling I was impressed by the sown fields. I feel reflected in that work, it takes me to a landscape of moments from the past.” After going through the stage he calls Deserts, in which he used memories of journeys across deserts without taking notes or photographs, he is now in Atlas. “I was thinking that I had to paint something else, to find myself more, and I came to the conclusion that I wanted to reflect my study, where I spent hours, days, weeks ... That is my desert.”
FUENTE
DISNEY, UN SUEÑO Albano
A menudo se dice, no sin acierto, que la necesidad agudiza el ingenio. Cuando hablamos de Disney esa necesidad va más allá del concepto económico, nos adentra en la exigencia del trabajo bien hecho, a la búsqueda ferviente de los últimos avances técnicos y a querer llevar los sueños a la vida real. Me pregunto si acaso Mickey no existe en nuestra realidad como El Quijote galopando por tierras manchegas. Walt Disney superó la ficción acercándose a la naturaleza, cuando la animación era el camino para contar aquello que no pertenece al hombre, él la hizo más humana. Todos aquellos que crecimos, visualizando sus creaciones, debemos agradecer ese acercamiento a la magia del dibujo y a la precisión en el detalle de un creador dinámico, obsesivo y soñador. Ahora es tiempo de ver sus obras desde otra óptica, revisar las Silly Symphonies (1929-1939) para saber de qué hablamos cuando utilizamos la animación en el arte; o revisar las películas de nues-
RAUDAL
tra infancia para desarrollar el gusto por la música de calidad, cual Fantasía.
It is often said, not without success, that necessity is the mother of invention. When we speak of Disney that necessity goes beyond the economic concept, it takes us into the demands of the job well done, to the enthusiastic search of the latest technical advances and bringing dreams to real life. I wonder if maybe Mickey exists in our reality the same as Don Quixote galloping across La Mancha’s fields. Walt Disney surpassed fiction approaching nature, when animation was the mean to tell that which does not belong to man, he made it more human. All those who grew up, watching his creations, should be grateful for that approach to the magic of drawing and the precision in detail of a dynamic, obsessive and dreamy creator. Now is time to look at his work from a different perspective, to review the Silly Symphonies (1929-1939) to know what are we talking about when we use animation in art; or to consider our childhood films to develop the taste for quality music, as Fantasia.
Disney Albano, 2016
B I T Á C O R A DE ENCINA Y ROBLE
Albano
Se testimonian los últimos meses de este dos mil dieciséis, en el contenedor de esta novena edición, que se ahorma a la sombra de castaños, plátanos, tilos y abundantes sauces bañados por el río Cam. Cambridge y Londres, con su multiculturalidad, nos sumergen en la realidad del paisaje contemporáneo. Entre tanto, a cada paso, disfrutamos de la compañía de amigos y manifestaciones que hacen de esta senda llamada Arte un camino vivificante en el que completar las páginas de esta bitácora es un disfrute de memoria vívida y vivida. Pasear por Cambridge nos mete de lleno en los Cuartetos de Eliot, porque une pasado, presente y el dibujo del futuro. Muchos son los proyectos culturales que aquí se desarrollan, atrayendo a artistas como Ai Wei Wei, que invitado por el Downing College expuso “cubes and trees” en la nueva galería de la institución. Del mismo modo, en Londres, encontramos el bullicio de ferias, galerías y subastas que presentan esas grandes obras creadas en los últimos años, piezas que precisan ser vistas en su original para no llevarnos engaños de las imágenes que fluyen por la red. Una andadura ilusionada, una luz que entra cada mañana en el estudio londinense de José Carlos Naranjo, amigo de tantas batallas. Nuestro constante fluir por la capital del Támesis también nos acercó a las exposiciones de Reguera y Paricio, a la ampliación de la Tate y a conocer otros museos menos transitados, pero con igual grandeza, que hacen de Londres una ciudad inabarcable.
Entre tanto, en España, la relectura de El Bos-
Our constant flowing through the Thames’ capital
co caricaturizaba, quinientos años después de su
also got us closer to Regera’s and Parico’s exposi-
marcha, el devenir de nuestros días. Como cada
tions, to the Tate’s expansion and to get acquainted
estío, sufrí la canícula en el estudio abulense, con
with others, not so trodden museums, but just as
aire serrano y atardeceres de fuego, herederos de
grandiose, that make London such an unwieldy city.
aquellos que disfrutó Camilo José Cela y describió con cálamo de oro, que hoy sirven para hacer
In the meanwhile, in Spain, the re-reading of El
soñar y deslizar la pluma al poeta Muñoz Quirós.
Bosco caricatured, five hundred years after his departure, the going by of our days. As every Summer, I suffered the midday sun en the Avila study, with the mountain air and fiery dusks, heirs of
The last months of this two thousand and sixteen
those ones that Camilo José Cela enjoyed and
are witnessed, in the container of this ninth edition, that
described with golden pen, that today serve to
is shaped under the shadow of chestnut, maple, lime
dream and slide the pen of the poet Muñoz Quirós.
and abundant willows washed by the river Cam. Cambridge and London, with their multiculturalism, submerge us in the reality of the contemporary landscape. In the meanwhile, with every step, we enjoy the company of our friends and manifestations that make this path called Art a vivid way in which to fill in the pages of this compass in an enjoyable memory, both lived and vivid. Walking through Cambridge makes us fall deep
¿dónde? ¿quién? ¿cuándo? Where? Who? When?
inside Eliot’s quartets, because it links past and
King’s College, Cambridge / Frieze London, stand
present of the future drawing. Many are the cultu-
Timothy Taylor Gallery / Cubes and trees by Ai Wei
ral projects that are here developed, luring artists
Wei, Downing College, Cambridge / Pedro Pari-
such as Ai Wei Wei, that invited by Downing college
cio & Albano, Halcyon Gallery, Londres / Visitando
showed “Cubes and Trees” in the institution’s newest
el estudio de José Carlos Naranjo, Londres / Emi-
gallery. In the same way, we found in London the
lio Sánchez, José Pulido y Jose María Muñoz Qui-
noisiness of fairs, galleries and auctions that show
rós en el estudio de Albano / El Bosco, Museo del
those big works created in recent years, pieces that
Prado, Madrid / The unknown universe de Alberto
need to be seen the originals in order not to be de-
Reguera en Serena Morton Gallery, Londres / Ni
ceived by their images portrayed on the web. A ho-
cautivos ni desarmados, comisariada por Alfonso
peful walk, a light that seeps in through José Carlos
de la Torre, La Nau, Valencia / Cambridge Art Fair,
Naranjo’s study in London, a friend in so many battles.
stand Bear Space / Venancio Blanco & Albano.
Venancio Blanco y Albano.
EN CAM BRIDGE LAS PRIMERAS NIEVES ESPERANDO, SE EDITÓ ESTE NÚMERO DE PERISCOPIO. HACE SETENTA Y NUEVE AÑOS, EL 21 DE DICIEMBRE DE 1937, SE PROYECTÓ POR PRIMERA VEZ EN LA GRAN PANTALLA “BLANCANIEVES Y LOS SIETE ENANITOS”, INICIO DE UNA AVENTURA DESLUMBRANTE, QUE NOS DIO INOLVIDABLES OBRAS DEL HACEDOR DE SUEÑOS, DISNEY, QUE ENRIQUECE ESTE NOVENO RAUDAL FUENTE. THIS ISSUE OF PERISCOPIO WAS EDITED IN CAMBRIDGE, AWAITING THE FIRST SNOWS. SEVENTY-NINE YEARS AGO, ON DECEMBER 21, 1937, “SNOW WHITE AND THE SEVEN DWARFS” WAS FIRST SHOWN ON THE BIG ADVENTURE THAT GAVE US THE DREAM - MAKER, ENRICHING
SCREEN. THE BEGINNING OF A DAZZLING UNFORGETTABLE WORKS OF DISNEY, THE THIS NINTH RAUDAL FUENTE.
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