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Spanish art among Buddhas, Mandalas and Chinese calligraphies

An exhibition at the March Foundation investigates for the first time in the Asian influence on the creators from the 1950s

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Spanish art among Buddhas, Mandalas and Chinese calligraphies

The furrows left by rake in a Japanese garden, cosmic symbolism of a Hindu mandala, attraction for calligraphy, concentrated placidity of a Buddha, or explicit Asian sex prints have inspired western artists since mid- Nineteenth century. Although influence of Asia has been lower than in or countries, also in Spain has been noted in work of some of protagonists of national art scene.

There are obvious names. One is Fernando Zóbel (1924-1984), of Filipino origin, who came to impart Japanese art class in Manila, and impregnated his abstract works of spirituality of Japanese and Chinese art. Anor is Antoni tàpies (1923-2012), whose calligraphic symbols are clear debtors of Chinese scripture that spread to Japan. Also Pablo Palazuelo (1916-2007), who developed some works from geometric diagrams of Hindu Yantras. And even Eduardo Chillida (1924-2002), who immortalized in a sculpture position of legs and arms of a trio of sumo wrestlers.

Body of Light I, of Pamen Palaugha, 1995, coming from Monostaerio Zen Luz Serena-CBSZ JUAN Garcia EL PAÍS

They are four of main artists of generation of fifties and, toger with sixty ors, are creators of 330 works of exhibition beginning Asia. China, Japan and India and contemporary art in Spain (1957-2017). Principle understood in its chemical meaning, according to which an active element, alone or toger with ors, reacts when mixed with ors. This is purpose of this unpublished exhibition, which was inaugurated yesterday at Madrid headquarters of March Foundation.

It combines almost equal parts of Asian and Spanish works in a symbiosis that generates suggestive affinities electives, like Red Room that painted 13 years ago Juan Navarro Baldeweg from a very Japanese zenithal perspective, characteristic of prints Old ones, like one shown to her side. From above, with roof veiled, one of houses is drawn, light and modular, typical of Asian country; or Lamas concert by Miquel Barceló, which is exhibited next to a 17th-century Buddha; or canvas of spiritual nebulae of Zóbel that seems to prolong landscape of mountains of six-leaf screen of beginning of XIX.

Buddha in Dhyana Mudra, Thailand. Bankok Style The country

"It is a representation, although not exhaustive yes ample, which collects artists who were influenced in practice in ir painting, sculpture or ceramics, in all concepts", explains director of exhibitions of foundation, Manuel Fontán del Junco. The exhibition, which can be seen until June 24th, is unpublished, because previously re had not been explored that eastern influence in Spanish art, says Fontán. The tour starts with two installations of Manuel Vilariño and Juan Hidalgo and concludes with exhibition of books of libraries (especially of Zóbel and tàpies) that were key to make known Asian art.

The catalogue, a fundamental part of project, also includes research work of four years in which both Fontán and Inés Vallejo participated, as well as experts Matilde Arias, Pilar Cabañas and María Jesús Ferro, of group of Asia research, linked to Complutense University.

East through Cuenca

The works of exhibition come from March Foundation and or public and private collections, many of m Spanish. The Asian influence marks many informalists of Spanish Abstract Art Museum of Cuenca, created by Zóbel, with work of many of artists present in exhibition and owned by March, re are also artists like Joan Miró, with calligraphic works; Joan Hernández Pijuan, with a meditative raked landscape; José María Yturralde with a hypnotic zen circle, or Susana Solano, with a very colorful and surprising photographic installation.


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