Arcadi Blasco joined Venice Biennale twice. One in the 1960s, as part of a collective exhibition, and in June 1970. This last time he brought his work to the Spanish pavilion at the Italy event. Decorative suggestions for dialogue and her Torture suggestions –as habitable mud enclosures to which it belongs Zone for a legal murdersymbolic work of the artist on display at the Alicante Museum of Contemporary Art (MACA).
Along with them, Blasco supposedly showed some. Objects-Idea Representing the beginning of that new creative phase leading to Venice. While many of these pieces are scattered, MACA has one of them. five-year deposit It is one of these Object-Ideas by José Piqueras that now hangs in the museum along with other works that coincide with the tenth anniversary of his death.
“An exposed piece At the Ten gallery in Barcelona in 1969 and then went to the Venice Biennale”, featured pikes. “It’s important because that’s the context of the big piece that MACA already has.” UA professor assures these work”removed from the market and “lucky to be here because it’s clear it’s a museum piece where it belongs.” Additionally, “the terracotta is in excellent condition, as originally recommended by Arcadi.”
New Cultural Council Member, Nayma Beljilali, “It’s a fantastic opportunity to visit the museum and contemplate almost simultaneously on the two works that make up the vast creative universe of one of the references for contemporary art in Alicante,” he says.
Composition
This ceramic is the main character and the reliefs begin to surround themselves, wanting to hide, more sculptural and even architectural with the addition of workable holes as indicated in the catalog of the artist’s exhibition held at MUA in 2017. craftsmanship through a range of very personal sources: cuneiform and repetitive writing touches and impressions; rows of balls or beads with added clay and different sizes; pendant beads or radiations, as if they were pieces of jewelry from ancient cultures, but also refined and barbaric, with all manner of roughness and relief where matter still boils.
Artist
Arcadi Blasco Pastor (Mutxamel, Alicante, 1928 – Majadahonda, Madrid, 2013) was an artist who found himself in the second half of the 50s. ideal material for artistic expression is ceramic. Artistic education as a painter, Madrid School of Fine Arts, Where he came from at the age of 19, he finished his teaching course at the San Carlos School of Fine Arts in Valencia in 1953. The same year he moved to Italy, where he lived for two years at the Spanish Academy in Rome. His first contact with ceramics through the work of Nino Caruso and Carlo Zauli.
After returning to Spain, he had his first ceramic experience and became interested in artisanal ceramics. mercedess- where he exchanges information- and other popular pottery workshops in Agost and Triana (Cerámica Montalbán). In 1955 he set up his first workshop in the nave left by architect Luis Feduchi, the semi-constructed building of the Museum of the Americas located in the University City of Madrid, which he shares with José Luis Sánchez, Jacqueline Canivet and Carmen Perujo. ; there, among other things, many stained glass, mosaic and ceramic murals Collaborating with architects José Luis Fernández del Amo, Ignacio Gárate, Luis Cubillo, García Benito, Luis Feduchi, he was destined to largely decorate churches built at the request of the Institute for the Colonization of the Peoples of Spain. Fernández Alba and Fisac, among others.
The enormous space of this workplace for creativity was also used by painters from time to time. Jose Vento, Hernandez Mompo, Rafael Canogar, Antonio Saura, etc., who need to produce large format works and do not have enough space in their studio. This temporary workshop became a meeting place for artists from the young Madrid avant-garde.
stages
To be exact, one of the most notable features of Arcadio Blasco’s career as a ceramist is, [1945ile1974yıllarıarasındaçağdaşsanatınyenietkinliklerinedoğrudankatılımıçünkü o -Carmen González’in haklı olarak işaret ettiği gibi- “bir dizi eser aracılığıyla tesadüfler -kendi deyimiyle- plastik sanatlar alanında yer almakta ve Çok sayıda ulusal ve uluslararası sergi açmıştır. çağdaş sanat forumlarında hep seramik işi taşıyor”.
Kapların yüzeyini resimsel söz dağarcığı için bir destek olarak kullanmaktan oluşan -belirli bir dekoratif yüke sahip işler gerçekleştiren- seramik çalışmasına ilk doğrudan yaklaşımından sonra, Arcadi Blasco kendini güçlü hissedecek. bu malzemenin niteliklerinden ve ifade gücünden etkilenenve sonuç olarak Seramik Tabloları (1956-64) doğdu.
Sonraki tüm iş döngülerinde: Nesneler fikri (1969), Süs Önerileri (1969-74), Korkuya karşı savunmak için Mimariler ve Duvarlar (1970-86), arkeolojik kalıntılar (1984-86), Cemaat için değirmen çarkları (1985) ve saygılar (1992-95), farklı tonlardaki killer, astarlar, sırlar -daha az sıklıkta ve çok nüanslı- ve toprak tonlarında renklendirici oksit uygulamaları -çoğunlukla indirgeme pişirimine tabi tutulacak- kahraman malzemelerdir. eserlerinden..
50’lerin en aykırı İspanyol sanatçıları için dönüştüğü bu arama kasırgasında, Acadi Blasco seramik malzemenin olanaklarını araştırır ve 60’ların sonunda – seramikte – sona erecek olan hacimdeki son resimsel araştırmalarını yürütmek için ideal ortamı pişmiş kilde bulur. sosyal bağlılık ve siyasi eleştiri kabartmaları ve heykelleri.
onun ile 1985’te Mutxamel’e dönüş ve Alicante, atölyesinin Bonalba bölgesindeki bir kır evinde kurulmasını sağladı. olgun bir sanatçı Alicante kültürünü farklı girişimlerle harekete geçirmek için çaba sarf eden, bazıları seramik ve seramik öğretimi ile ilgili.