Miquel Mont
17 Mar - 05 May 2011
MIQUEL MONT
No puedes perder lo que nunca has tenido
17 March - 5 May, 2011
No puedes perder lo que nunca has tenido (You can never lose what was never yours) is the text that appears in one of the collages ideológicos (ideological collages) that are presented for the first time in Spain, in a series specially conceived for this exhibition of Miquel Mont in Distrito 4, together with other works in echo and dialogue like Lapsus and Cooperaciones.
The collages are a series of works on paper initiated more than a decade ago. They are constructed almost invariably by the same protocol: by uniting text, a painted surface following graphic and pictorial composition and/or and image, generally originating from press and found on the same level as the paper.
There isn ́t a specific search in a particular sense to elaborate a predetermined idea more than the one given when these three elements collide to make the Collage. Parting from the principle that every relation image-text generates a multitude of meanings, including the most abrupt ones, the intention consists in giving a meaningful sense to these signification relations with a maximum open mind in a way that the spectator will be free to make it his and it gives way to raise options for an open lecture. The origins of the texts are deliberately hidden so they don ́t work with a subpoena authority. The colors used are flat.
The discontinued element that is found in collage permits the enhancement of the words and texts, to show the absence of objects, facts and by extension of images too. This utilization of the collage, because of the short time in which it is produced, the transparency of the gestures that compose it, and because of the immediacy, it is considered inscribed in a practice of drawing understood in its widest meaning. In formal and pictorial dialogue with the collages, the artist presents 3 new works of the series Lapsus.
In this series the principle consists in putting in relation a specific from (geometrical or not), used normally in contemporary paintings as a pictorial support system (wood, methacrylate, expanded PVC, polycarbonate, plasterboard...) with a painted surface directly on the wall with which it relates a proportion.
The form, that is usually painted and hung, is found leaning directly on the floor and comes to terms with the level of painted color that is completely fixated in a precise composition, if not better in a dialectic way with the space that welcomes it. This way, bands, flat levels or similar forms of color slide on what could have been its natural support system to enter the wall itself, creating a hiatus. Spatial and specific to each presentation, as well as temporal because of the different time periods of realization, The Lapsus try to separate the material perception, the contour (the drawing) and the specific color to our understanding of painting.
In continuity to these older series (of the artist) like Flicker, Poros, Realismo de Mercado or older pieces such as Pieles, we are presented with the most recent ones Cooperaciones, works in which the artist deconstructs the pictorial device through the urban experience of contemplation of surfaces and colors through cabinets and shop windows and inevitably bound to our consumerism universe. The recurrent themes of modern painting, the flatness, the materialism, the appearance of support... have founded our experience and practice of abstraction and are articulated in a dialectic relation between affirmation of the heterogeneity, the actual position of paintings, color and structure that holds them.
Paris February -miquel mont-
No puedes perder lo que nunca has tenido
17 March - 5 May, 2011
No puedes perder lo que nunca has tenido (You can never lose what was never yours) is the text that appears in one of the collages ideológicos (ideological collages) that are presented for the first time in Spain, in a series specially conceived for this exhibition of Miquel Mont in Distrito 4, together with other works in echo and dialogue like Lapsus and Cooperaciones.
The collages are a series of works on paper initiated more than a decade ago. They are constructed almost invariably by the same protocol: by uniting text, a painted surface following graphic and pictorial composition and/or and image, generally originating from press and found on the same level as the paper.
There isn ́t a specific search in a particular sense to elaborate a predetermined idea more than the one given when these three elements collide to make the Collage. Parting from the principle that every relation image-text generates a multitude of meanings, including the most abrupt ones, the intention consists in giving a meaningful sense to these signification relations with a maximum open mind in a way that the spectator will be free to make it his and it gives way to raise options for an open lecture. The origins of the texts are deliberately hidden so they don ́t work with a subpoena authority. The colors used are flat.
The discontinued element that is found in collage permits the enhancement of the words and texts, to show the absence of objects, facts and by extension of images too. This utilization of the collage, because of the short time in which it is produced, the transparency of the gestures that compose it, and because of the immediacy, it is considered inscribed in a practice of drawing understood in its widest meaning. In formal and pictorial dialogue with the collages, the artist presents 3 new works of the series Lapsus.
In this series the principle consists in putting in relation a specific from (geometrical or not), used normally in contemporary paintings as a pictorial support system (wood, methacrylate, expanded PVC, polycarbonate, plasterboard...) with a painted surface directly on the wall with which it relates a proportion.
The form, that is usually painted and hung, is found leaning directly on the floor and comes to terms with the level of painted color that is completely fixated in a precise composition, if not better in a dialectic way with the space that welcomes it. This way, bands, flat levels or similar forms of color slide on what could have been its natural support system to enter the wall itself, creating a hiatus. Spatial and specific to each presentation, as well as temporal because of the different time periods of realization, The Lapsus try to separate the material perception, the contour (the drawing) and the specific color to our understanding of painting.
In continuity to these older series (of the artist) like Flicker, Poros, Realismo de Mercado or older pieces such as Pieles, we are presented with the most recent ones Cooperaciones, works in which the artist deconstructs the pictorial device through the urban experience of contemplation of surfaces and colors through cabinets and shop windows and inevitably bound to our consumerism universe. The recurrent themes of modern painting, the flatness, the materialism, the appearance of support... have founded our experience and practice of abstraction and are articulated in a dialectic relation between affirmation of the heterogeneity, the actual position of paintings, color and structure that holds them.
Paris February -miquel mont-