Obituary Alberto Corazón dies
Last interview Alberto Corazón: "A work must have aesthetic dignity and mystery"
To enjoy these
45 pieces by
Alberto Corazón
that no one saw other than him, you
have to go up that winding, steep and very long street where the Spanish artistic avant-garde roamed in the 60s. Those young people with fine ties and narrow trousers upset the rules game from the labyrinthine rooms of the Hanging Houses of Cuenca. Zóbel was the admiral and the crew included the Torner, Saura, Rueda, Bonifacio, Guerrero, Mompó ... Alberto Corazón was not in that founding photo of 1966 because he was only a cabin boy in this art but now he is a neighbor of those illustrious sailors from
the beautiful Casa Zavala. All for him.
Until December 15, you can see up to 60 works by the artist (designer, painter, sculptor, writer) Alberto Corazón (1942-2021), most of them unpublished, in
that caravel on land that faces the Júcar river gorge.
Organized by the Roberto Polo Collection-Centro de Arte Contemporáneo de Castilla-La Mancha and curated by Rafael Sierra and the writer Ana Arambarri, Corazón's widow,
on these three floors the restless and surprising fantasy of a man who was a curious
, tenacious
man
and without edges.
Calm yellow flames like a plant from which the word
Silence
springs
(2004) are the first flash of the exhibition.
They are on the landing of the stairs that will lead to several rooms at different heights where it is intuited that everything can be possible.
Some works in lead and bronze are the aperitif of those
splendorous, gigantic paintings that ooze and expand
, like the
Mineral Embarcadero. 13 H
(2002),
measuring
two meters by 1.30.
The canvas
Conversation is
striking and disturbing
: two empty armchairs look towards a suspended staircase.
Inside, this legend:
«Like a blind man / they have taken me / by the hand»
.
It is overwhelming because of the silence of the room, because it seems a metaphor for feeling blind despite seeing.
Image of the Alberto Corazón exhibition.
It is impressive, due to its power, because it explodes on the white background,
Great Red Still Life
(2002).
And facing
the enormity of that blind fire
,
Table of the artist
(2010): the collected and secluded intimacy of Alberto Corazón and so many others.
By showing himself to him, he shows us the others.
There are rules, brushes, glasses, notebooks, books, tubes of paint ... And next to it,
The Dark Night
(2003), a river of black wrinkles, the wounded depth of dreams
, the nightmares that shake the night, the restless conscience.
The entire exhibition, which has been titled
Alberto Corazón.
The poacher
is the artist's intimate work, the one he had kept for him.
Both
small and gigantic
: each work, according to its purpose.
And all his themes: "Still lifes, tables, cliffs, which were his dreams and his utopia," explains Ana Arambarri in a video.
Alberto Corazón, in his studio in 2017. Antonio Heredia
And in the center of a room, suddenly
, the scores of
Elegía
, which Alfredo Aracil composed in his memory
and could be heard in the tribute that was paid to him at the San Fernando Academy of Fine Arts on October 18, of which he was a member since 2006. Ana Arambarri explains it for this newspaper. «Alfredo composed the work with
the luminous frequency of five lighthouses that he translated into musical notes
, five important lighthouses in Alberto's life: that of San Vicente de la Barquera, where he had been with Alberto Méndez [the author of the unforgettable novel
Los girasoles blind
], that of Mesa Roldán, near Agua Amarga (Almería), where they approached with a small boat; other
in Mallorca, because Alberto lived there for a season as Robert Graves' secretary
;
the one from Venice, because he exhibited there, and one from Asturias ».
Aracil's work, for solo piano, is designed so that, while listening, works and words drawn by Corazón appear on a screen.
Arambarri
now
comments on
what the visitor is going to find in Cuenca:
«The strength of his strokes, those colors that I told him were sometimes angry
, because of their strength: those reds, those greens.
Those winding, tortuous strokes.
It is your inner self.
And if I have to choose, I'll stick with its cliffs, with that breaking stage, with those fires.
The cliffs are your inner silence.
On the other hand, the still lifes are more paintings to share ».
Nor did they forget in the exhibition Alberto Corazón's complaint,
his commitment
.
Here's
Aleppo
(2016), two fruits?
dark with a burning interior, a flame that has not yet been extinguished;
perhaps the suggestion, or the wish, that all has not been lost.
But what predominates are lively, cheerful colors.
Uninhibited works of shapes and strokes.
There is stillness, calm, but also movement.
The hubbub of life.
The top and the underside.
Like the painting
Still
(2014), a car?
that flees in flames on a black background on the left and, in the other two thirds of the oil painting, what could be embers, tongues of fire, burning language.
And behind it, another work
, entitled
Still life
, split by the frame panel.
"I never looked back,"
says Arambarri.
A man on the move.
Between searching and daring.
According to the criteria of The Trust Project
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