Enséñame a vivir. Curated by Sergio Rubira

Curatorial text/Dossier/3D view

 
 
Enséñame a vivir. Curated by Sergio Rubira

Alexander Apóstol, Pedro Cabrita Reis, Carmen Calvo, José Pedro Croft, Milagros De La Torre, Ferrán García Sevilla, Xavier Grau, James Lee Byars, Eva Lootz, Miquel Navarro, Juan Navarro Baldeweg, José Noguero, Adolfo Schlosser, Susana Solano, Juan Uslé, Gilberto Zorio

 
 
Enséñame a vivir, 2021. Room 1. General view
Susana Solano. Fa el 8, 1989. Iron and marble. 123 x 240 x 103 cm
Enséñame a vivir, 2021. Room 1. General view
Carmen Calvo. Al verles se diría que lloran al dormir, 1999. Mix media on rubber mounting. 200 x 140 cm
Enséñame a vivir, 2021. Room 1. General view
Enséñame a vivir, 2021. Room 1. General view
Enséñame a vivir, 2021. Room 2. General view
Ferrán García Sevilla. Dibujo preparatorio para mural, 1992. Collage and colour pencil on paper. 26.7 x 23 cm
Juan Uslé. Cameo abierto, 1995. mixed media on canvas. 61 x 46 cm
Enséñame a vivir, 2021. Room 2. General view
Xavier Grau. Sin título, 2000. Mixed media on paper. 36 x 44 x 5 cm
Xavier Grau. Sin título, 2000. Mixed media on paper. 36 x 44 x 5 cm
Xavier Grau. Sin título, 2000. Mixed media on paper. 36 x 44 x 5 cm
Enséñame a vivir, 2021. Room 2. General view
Juan Navarro Baldeweg. Danae del velo, 1986. Oil on canvas. 200 x 200 cm
Enséñame a vivir, 2021. Room 2. General view
José Noguero. Columna de colores, 1995. Mixed media on wood. 206 x 47 x 47 cm
Enséñame a vivir, 2021. Room 3. General view
Enséñame a vivir, 2021. Room 3. General view
Eva Lootz. Ellas (Pareja II), 1992. Alabaster, paraffin felt. Medidas Variables
Eva Lootz. Ellas (Pareja II), 1992. Alabaster, paraffin felt. Medidas Variables
Miquel Navarro. Neura I, 1996. Watercolor on paper. 108 x 78 x 4 cm
Enséñame a vivir, 2021. Room 3. General view
Gilberto Zorio. Sin título, 1995. Técnica mixta sobre papel. 90 x 117 cm
Adolfo Schlosser. Araña, 1996. Paraffin and copper. 45 x 45 x 45 cm
Enséñame a vivir, 2021. Room 3. General view
Adolfo Schlosser. Boveda, 1994. Graphite on paper. 31 x 21.5 cm
Enséñame a vivir, 2021. Room 3. General view
Eva Lootz. Untitled, 1992. Acrylic on paper. 82 x 62 cm
Eva Lootz. Untitled, 1992. Acrylic on paper. 82 x 62 cm
Enséñame a vivir, 2021. Room 3. General view
Gilberto Zorio. Sin título, 1995. Barro cocido. 52 x 75 cm
Pedro Cabrita Reis. Echo der Welt III, 1993. Mixed media on paper. 100 x 70 cm
Enséñame a vivir, 2021. Room 4. General view
Enséñame a vivir, 2021. Room 4. General view
Milagros de la Torre. Censurados 1, 2000. Chromogenic printing / iron frame. 102 x 120 cm. 102 x 120 cm
José Pedro Croft. Sin título, 1994. Plaster and wooden table. 78 x 70 x 70 cm
Enséñame a vivir, 2021. Room 4. General view
Milagros de la Torre. Censurados 1, 2000. Chromogenic printing / iron frame. 102 x 120 cm
Enséñame a vivir, 2021. Room 4. General view
José Pedro Croft. Sin título XVI, 1995. Plaster and wooden chair. 96 x 200 x 85 cm


 
 

Curatorial text

 
 

James Lee Byars had scheduled an exhibition at the Luis Adelantado gallery following his individual exhibition at IVAM Carmen Centre in 1994. Nevertheless, it was not to be, since Byars soon learned that he had a disease that would prevent this event from taking place. That exhibition would be one of those plans that would just have to wait, suspended in the memory of time, trapped in nostalgia, something that could have been but was not. When he found out that his cancer was incurable, Byars sent a postcard to the gallery bearing just a single sentence: “Please Luis, teach me how to die”. That plea shows the feeling there was between the artist and the gallery owner, but it also talks about another type of teaching, one to do with life, because living always has something to learn from dying, as biographers well know. And that learning of life is something that can be traced, recognised and found in the early years of history of the Luis Adelantado gallery. Somehow, that history is the history of learning, learning by Luis Adelantado himself and his daughter Olga, who now runs the project in Valencia.
This exhibition has a rather melancholic note to it, of something that was and also something that could have been. It is an exhibition of possible exhibitions, one consisting of four, designed around work that the gallery kept back during its early years as its history was unfolding, but it also teaches us to see those who come to visit the gallery. In the early years, there was a clear interest in painting, and its multiple developments, as can be seen in the work by Ferran García Sevilla, Xavier Grau, Juan Navarro Baldeweg, José Noguero and Juan Uslé. But there was also in interest in artists who worked with materials and its many meanings, such as Carmen Calvo, Eva Lootz, Miquel Navarro, Adolfo Schlosser and Gilberto Zorio, or those who put emphasis on space through their sculptures, such as Pedro Cabrita Reis, José Pedro Croft and Susana Solano. Artists who questioned reality from a politically open standpoint were gradually included, and who not only represented the new generation, but also Latin American art, as seen in the photographs by Alexander Apóstol and Milagros de la Torre. This exhibition is not only a sample of artwork produced in the 90’s and early 2000’s, but also features a significant part of the art critique of the time. The exhibition halls also echo the voices of some of the authors whose texts accompanied the exhibitions in the catalogues the gallery published. They are ghostly words of nostalgia, that are here and there, in the past and in the present. They interpreted the work that was exhibited and today take on a new sense, as do the exhibits they refer to.—Sergio Rubira