Luis Candaudap
30 Nov 2012 - 10 Feb 2013
LUIS CANDAUDAP
Hunting Laws
30 November 2012 - 10 February 2013
This is the first and most complete retrospective of this painter’s work that has been assembled to date by a public institution and reviews the work of Luis Candaudap (Bilbao, 1964) from the nineties to the current moment. Composed by more than 50 works, oils, acrylics, drawings and films will be displayed at the gallery. It will also be presented a sample of the bank of images used in the processes, together with sketchbooks elaborated through the years. At the same time, the exhibition will be completed with the film projects from the late 80’s that explain the cinematographic origins of his pictorial speech.
Well-known for undertaking important experimentation in the pictorial field, Candaudap is one of the most significant Basque artists from the generation that made its appearance in the early 1990s. The exhibition route is not laid out in typical chronological order, but attempts instead to show the evolution of the author’s pictorial language, confronting the viewer with the individuality of each piece. Conceived as an exhaustive overview of his artistic career, the exhibition is titled Hunting laws, a reference that is taken up via the notion of “hunter of images” by the renowned art critic Mark Gisbourne, author of the interesting theoretical essay that is included in the catalogue published for the occasion.
The layout introduces us to works from the end of the 1990s to the present day. The show begins with a filmic opening in the shape of an emblematic work in oil, Kino Moskwa (1990), and then, after skipping ten years of pictorial production created in Barcelona, it places the viewer before the painterly conclusions from that period which will modulate Luis Candaudap’s work from 1999-2000.
In Luis Candaudap’s works there is a common element that reflects his stance when he approaches his canvases. For the author there is no kind of panic provoked by the blank canvas, thereby shunning the traditional mysticism that surrounds the blank page or canvas. For Candaudap, the start of the painting simply involves resuming and following the process that took off in the last work undertaken, whether that be canvas understood as a screen where images are shifted and placed, or as a simple support that is employed to situate the first strata and later developments of formal cloaking and superposition. In Candaudap’s universe conflict kicks in at closing time, since to define or punctuate the work means shouldering a responsibility that has not always been achieved; that of equipping the support medium with justice over what is occurring.
The artist www.luiscandaudap.com
Luis Candaudap (Bilbao, 1964) studied Fine Arts, specialising in Painting, at the University of the Basque Country (UPV-EHU). After residing for some years in the cities of Warsaw and Barcelona, he settled in Bilbao at the end of the 1990s. Throughout his career he has taken part in several plastic arts competitions and contests, obtaining second prize in the Gure Artea competition in 1991. Some of the collective shows he has taken part in are A la pintura. Pintores españoles de los 80-90 en la colección Argentaria (itinerant) in 1995; Figuraciones del Norte; Centro de Arte Joven, Madrid; the Museum of Fine Arts in Oviedo in 1999; Basque Artists at the South Shore Arts Center, Munster, Indiana, in 2006. Where single artist shows are concerned, his work has been exhibited at the Senda gallery in Barcelona (1996), Fernando Silió in Santander, Windsor Kulturgintza in Bilbao (2003) or the last at Juan Manuel Lumbreras gallery in Bilbao (2011).
Hunting Laws
30 November 2012 - 10 February 2013
This is the first and most complete retrospective of this painter’s work that has been assembled to date by a public institution and reviews the work of Luis Candaudap (Bilbao, 1964) from the nineties to the current moment. Composed by more than 50 works, oils, acrylics, drawings and films will be displayed at the gallery. It will also be presented a sample of the bank of images used in the processes, together with sketchbooks elaborated through the years. At the same time, the exhibition will be completed with the film projects from the late 80’s that explain the cinematographic origins of his pictorial speech.
Well-known for undertaking important experimentation in the pictorial field, Candaudap is one of the most significant Basque artists from the generation that made its appearance in the early 1990s. The exhibition route is not laid out in typical chronological order, but attempts instead to show the evolution of the author’s pictorial language, confronting the viewer with the individuality of each piece. Conceived as an exhaustive overview of his artistic career, the exhibition is titled Hunting laws, a reference that is taken up via the notion of “hunter of images” by the renowned art critic Mark Gisbourne, author of the interesting theoretical essay that is included in the catalogue published for the occasion.
The layout introduces us to works from the end of the 1990s to the present day. The show begins with a filmic opening in the shape of an emblematic work in oil, Kino Moskwa (1990), and then, after skipping ten years of pictorial production created in Barcelona, it places the viewer before the painterly conclusions from that period which will modulate Luis Candaudap’s work from 1999-2000.
In Luis Candaudap’s works there is a common element that reflects his stance when he approaches his canvases. For the author there is no kind of panic provoked by the blank canvas, thereby shunning the traditional mysticism that surrounds the blank page or canvas. For Candaudap, the start of the painting simply involves resuming and following the process that took off in the last work undertaken, whether that be canvas understood as a screen where images are shifted and placed, or as a simple support that is employed to situate the first strata and later developments of formal cloaking and superposition. In Candaudap’s universe conflict kicks in at closing time, since to define or punctuate the work means shouldering a responsibility that has not always been achieved; that of equipping the support medium with justice over what is occurring.
The artist www.luiscandaudap.com
Luis Candaudap (Bilbao, 1964) studied Fine Arts, specialising in Painting, at the University of the Basque Country (UPV-EHU). After residing for some years in the cities of Warsaw and Barcelona, he settled in Bilbao at the end of the 1990s. Throughout his career he has taken part in several plastic arts competitions and contests, obtaining second prize in the Gure Artea competition in 1991. Some of the collective shows he has taken part in are A la pintura. Pintores españoles de los 80-90 en la colección Argentaria (itinerant) in 1995; Figuraciones del Norte; Centro de Arte Joven, Madrid; the Museum of Fine Arts in Oviedo in 1999; Basque Artists at the South Shore Arts Center, Munster, Indiana, in 2006. Where single artist shows are concerned, his work has been exhibited at the Senda gallery in Barcelona (1996), Fernando Silió in Santander, Windsor Kulturgintza in Bilbao (2003) or the last at Juan Manuel Lumbreras gallery in Bilbao (2011).