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About Riera i Arago
About Céret Museum of Modern Art
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June 2011
Céret Museum of Modern Art
Riera i Arago
Sculptures and paintings
Céret Museum of Modern Art, Perpignan
18 June - 6 November
The dream of the browser
Riera I Arago, Hai¨ku II, 2011

Riera I Arago, Hai¨ku II, 2011
Technique mixte sur toile, 140 x 370 cm. Collection prive´e Sara Riera ADAGP, Paris 2011 copy

PERPIGNAN. RIERA I ARAGO (Barcelona 1954) is part of the generation of artists in the eighties which refers to the language of painting and sculpture in its conceptual tradition.

Following the path taken towards the dematerialization of the art work created by conceptual art, and after having had recourse to informal pictorial art in all its forms, the artists of the eighties apply the same method to sculpture, statuary, dropping completely traditional, and they discover a great creative freedom. This new way to express themselves without complex offers enormous opportunities for expression and also a direct dialogue with the theme of urban and modern life.

Riera i Arago is fully integrated in the generation of the eighties that despite the use of traditional materials, iron, wood, bronze ... mostly recovered and recycled, will work decomplexing sculpture, and by diverting it giving a totally personal, about what we might call an "archeology of machinery."

Interested in mechanical appliances, air or water, but also by the physical and scientific and literary culture, it produces a playful and poetic iconography very personal, inspired by the world of submarines, airplanes, zeppelins, boats that are found ... poetized processed in her sculptures and installations. Since his earliest creations his work is characterized by an influence of mechanics and physics and is embodied in the principles of modern science.

Daniel Giralt Miracle speaks in these terms: "The machine, its form and function, are undeniably totems of twentieth devices, which fascinated the artist and transforms it into instruments in his service. If at other times the artist had used the landscape, mythological narratives or the human figure as a source of inspiration, Riera i Aragó opts for one of the most distinctive emblems of his era, the world of machinery and equipment under all their forms, it does not through a mimetic realism, but ironically the direction away from the machine, it gives a maximum capacity of suggestion, a journey between the real and the imaginary become referents of his work. "

The exhibition on the cornice of the Museum of Modern Art in Ceret in the summer of 2011 proposes to revisit the work of the last thirty years, including works created specifically as "Ceret Plane," a monumental sculpture painted iron five feet high, located in room to the former chapel of the Carmelites of the fifteenth century, in which the architect wanted to keep the original shape of the apse. Thus the artist refers to raids Cross Roman art. His tone becomes more radical with the evanescent light that penetrates gently overhead in space, the verticality of the plane appears headed the visitors in a kind of languor reminiscent of Christ's head, leaning on the cross, playing the high chair rail the role of a huge altarpiece.

Then the rooms gleeful term representative of his work.
The fascination of Riera and Aragon to the sea is revealed in the beautiful series of islands with Valentin Roma speaks as follows: "These coins have a look absolutely fundamental: they are located on fragments of precise form on a surface completely trapped water and cover part of the physiognomy of the work.

The permanent contact between the material and water causes a series of oxidation will gradually erode unpredictable colorful silhouette of stone segments, highlighting the more subtle corners and creating lakes barely noticeable in the natural orifices of the material.It occurs when a situation I would venture to describe as magic: the topography of these plastic elements of great simplicity, their active service and began a new reading of their symbolism by going under the gaze of the viewer as if it was really real landscapes.

Nevertheless, this particular definition between the residual and symbolic ambiguity of islands between the reading material or fragments of landscapes reproduced precisely gives great expressive force behind their fascinating artistic beauty. Few works of art that give read the full complexity of the mystery of creation. "

Also the theme of the submarine is one of the essential elements in the work of Riera i Arago and the exhibition will present some very nice items representing the trajectory of the artist. Works as "dumping" of 1998, consisting of 7 submarines bronze representing the sequence of disappearance under water, and the 7 submarine hanging from the ceiling, all with a wealth of color and compose the work "The submarines of the Balearic Islands" (1997) or "Mandala" (1991) mentioned by Gilbert Lascault "A mandala is placed on a wall consisting of submarine and its sub-intervals ... sailors aiming to make visible the silence. "

The exhibition will also feature sculptures as "Menara" (1987-1998) with reference to the landscape with a reflection on the nature and the elements that compose it. The materials of this sculpture: peat, bronze and water, produce a fascinating game between the metaphorical representation of nature and the literal reproduction of it. Similarly the play "the Estelle" refers to the origin of creation, the original function, that of signaling the physical space.

In the course of the exhibition the visitor will be confronted with sculptures of recent years entitled "Protected Species" JF Yvars defined as "the last pieces of Riera and Aragó slipping into the landscape of contemporary representation protohistoric somehow "After the deluge ...."

These works are composed by thousands of small submarines combined physicality and transparency as "Color 2 U" (2008), "Four submarines" (2007) or extraordianaire Orange Submarine "in 2007.

In the largest room of the museum's spectacular presentation on a base of nearly sixty feet long, a large part of the sculpture "Air" each more unexpected than others, with an incredible power of metamorphosis, will be a highlight the fracas. "A plane can evoke an arrow ready to spring from a drawn bow. It can evoke a tillage implement with his butt-helix. It may seem like a kind of fake, intended perhaps to cut the grass on the moon or Saturn ... There is also the world of Riera i Aragó, aircraft bipedal (two-legged like men and birds). And others look like flowers seeking the light "Gilbert Lascault.

Riera i Aragó realize this facility for the museum of more than one hundred small sculptures, particularly those who represent the most intimate work. These works created by the artist to enable him to reflect, to think in volume and color, draw shapes in space to dream and then turn them into large-scale projects.The accumulation of all these pieces of sculpture on a large area like this will happen at the Museum of Ceret, will be read in a masterly manner the reformulation of miniature face space, but also the fragility of monumentality and diversity of formal cohesion.

In this sense, we can quote a few lines of Serge Fauchereau: "Art is an adult game. Riera i Aragó offers big and beautiful toys that take us toward the abyss or the most fabulous ocean planets, the best is always what one has not seen and are in dreams ... i Riera loves Aragó small arsenal of machines to dream but it does not take them too seriously and knows how to heckle as a child would make her toys ... Never forget this fundamental dimension of humor in the whole work of Riera i Arago and can not resist the slight smile that often comes in watching it. This light is made fun of aesthetic pleasure, but also satisfaction with the positive stance that involves intentionally optimistic, one might say. "

The exhibition will also present a series of large-format drawings and a set of masterful paintings participating in this very particular universe that we just described and that Pierre Restany describes thus: "Riera i Arago has succeeded in putting an immense talent to of the constant metamorphosis of his obsessions and hygiene practice and radical in its return to the origin of life itself. On the way that punctuate its fundamental archetypes, he certainly did not stop surprising us. "

The exhibition takes place summer 2011 in partnership with the Museum of Modern Art in Collioure, and present a representative range of the work of this artist must.
Riera I Arago, Quatre sous-marins, 2007

Riera I Arago, Quatre sous-marins, 2007
Acier, aluminium, zamak peint, 155 x 203,5 x 101,5 cm_Collection prive´e Sara Riera ADAGP, Paris 2011

Riera I Arago, Avion au corps rouge, 2002

Riera I Arago, Avion au corps rouge, 2002
Huile sur toile, 166 x 240 cm_Collection prive´e Sara Riera ADAGP, Paris 2011

Riera I Arago, Hai¨ku III, 2011

Riera I Arago, Hai¨ku III, 2011
Technique mixte sur toile et collage (bronze), 200 x 300 cm_Collection prive´e Sara Riera ADAGP, Paris 2011

Riera I Arago, Avion P.1991

Riera I Arago, Avion P.1991
Technique mixte et collage (fer et fil de fer), 240 x 220 cm_Collection prive´e ADAGP, Paris 2011

Riera I Arago, Avions, 1990-2010

Riera I Arago, Avions, 1990-2010
Mate´riaux divers, dimensions diverses_Collection prive´e Sara Riera ADAGP, Paris 2011

Riera I Arago, Avion a` l'arc, 2000

Riera I Arago, Avion a` l'arc, 2000
Bois peint, 62 x 38.5 x 10 cm_Collection prive´e Sara Riera ADAGP, Paris 2011

Riera I Arago, Avion bleu e´tire´, 2007

Riera I Arago, Avion bleu e´tire´, 2007
Bronze peint, e´dite´ en 9 exemplaires, 37.5 x 33 x 11 cm Collection prive´e Sara Riera ADAGP, Paris 2011

Riera I Arago, Orange submarine, 2007

Riera I Arago, Orange submarine, 2007
Acier, zamak peint et laiton, 122 x 360 x 101 cm_Collection prive´e Marti Gasull Sara Riera ADAGP, Paris 2011

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