Jordi Teixidor attracts a conclusion to 60 years of summary profession | Culture | EUROtoday

Throughout the big central house of the Sala Alcalá 31 in Madrid, a desk extends on which 31 workbooks by Jordi Teixidor (Valencia, 84 years outdated) are displayed for the primary time. The nice Spanish abstraction artist defines this showcase as a sort of spine of the exhibition. No-resthrough which he brings collectively greater than fifty works that span his profession. Through these objects, that are additionally an in depth information or brochure, one goes by means of a life and a profession that aren’t linear, however somewhat fold totally different levels of his profession over and over. “In my production there are moments, not a line. It is the way I want to express painting, fluctuations are constant in creation,” the artist introduces.

“This exhibition looks like a conclusion,” says the creator in a tour of the exhibition, which might be visited till April 19. “Something like: what has Teixidor become in these 60 years.” To summarize, the painter makes use of quite a lot of phrases which can be nearer to philosophy, basically his approach of understanding his work, than strictly to artwork manuals. Teixidor defines himself as an abstraction artist who, at occasions, was extra radical in his conception of this fashion and who resorted to geometry as a device. “I am not a geometric painter,” he says.

In this very conceptual definition of artwork he says—in entrance of a inexperienced and yellow portray—that he by no means had curiosity in a sort of lived, extra mundane actuality, besides in particular moments, corresponding to when he present in a pile of leaves a type of motion that he might apply with brushes in opposition to a canvas throughout his first years in New York. In No-res There is a evaluate of his time within the American metropolis and his return to Spain, to Madrid, the place he has been creating his profession because the eighties.

The which means that has been related together with his identify for the longest time has been that of the artist of monochromes, particularly, the creator of the colour black that underlines most of his work. “Mine is not the traditional black of Spanish painting, like that of Goya or that of the El Paso group,” he distances himself, “it is not so tragic, it is a serene color that invites deep reflection.” On a floor he paints solely with a brush, he doesn’t use rollers or different homogenizing strategies, as a result of his curiosity lies in making it clear that the artist is within the portray, that he stayed there in the identical approach as the concept motivated him.

It is frequent for Teixidor to finish up philosophizing about artwork in entrance of his works. In entrance of an octagonal construction that refers to a chapel, constructed for this exhibition, curator Ángel Calvo Ulloa and the artist clarify that this house is designed for reflection. The works are usually not so essential, the 5 that he completed portray in 2025 for this exhibition and which can be housed on this place, however somewhat that whoever enters has a while to suppose and ponder. “Contemplation is the most important thing because it is lost in everyday life,” says Teixidor. “The image certifies it, the screen surpasses the concept of painting and the way of approaching art. Screens stun our gaze. What are we going to do about it, it is the evolution of history.”

This chapel will not be the one non secular reference in Teixidor’s work. The crosses mark their items. “I resort a lot to this scheme that is widely used in the history of art, especially from the avant-garde,” he explains, “I also assume that it has a relationship with the religious, I don’t mind if that is deduced. In a more personal way, I use it like the T of Teixidor.”

To end explaining this concept of ​​the sacred, the artist factors to the title of the exhibition, No-res. “It is an expression in Catalan to talk about nothing, I think it is richer than in Spanish because it proposes a nothing that contemplates the possibility of something, of creation. There is once again the sacred, what we do not see, the unspeakable. And this is the world in which I move and that I intend for it to reach those who contemplate,” he says. The one who contemplates, by the way in which, is the customer, a phrase that doesn’t fairly persuade him. “What I hope is that from the confrontation of works and periods a reflection arises in people, which is what a piece of art must ultimately produce.”

There are usually not many cartouches as a result of most of Teixidor’s works would not have names. They have been changed by artwork critiques and reflections on the creator’s work that Calvo Ulloa, after months of analysis, has compiled. In the opinions of consultants (they’re the bulk), corresponding to Marilyn Zeitlin, Chantal Maillard, María Lluïsa Borrás, Elvira Maluquer, Victoria Combalía and Gustavo Torner, amongst others, there may be additionally a spherical journey that connects the artist’s first concepts with people who proceed to inspire him at present.

It is his approach of not taking artwork as a right and, due to this fact, completed. “If we look for and find art, what do we do? Art would not exist because it is not concrete or exact. We look for it, we try to make it exist and to that extent the history of art exists,” he says.