Soledad Sevilla | anamasprojects.com

Nuevas lejanías I (2015) Oil on canvas. 200 x 220 cm

Soledad Sevilla | anamasprojects.com

Nuevas lejanías IV (2015) Oil on canvas. 200 x 220 cm

Soledad Sevilla | anamasprojects.com

Nuevas lejanías negro (2015) Oil on canvas. 200 x 220 cm

Soledad Sevilla | anamasprojects.com

Lágrimas (2013) Acrylic on wood. 11,8" x 15,7" e/u

Soledad Sevilla | anamasprojects.com

Untitled (1969). ink on paper. 61 x 65,5 cm

Soledad Sevilla | anamasprojects.com

Mondrian (1973) Acrylic on wood. 92,5 x 100 cm

Soledad Sevilla | anamasprojects.com

Untitled (1975) Acrylic on canvas. 100 x 100 cm

Soledad Sevilla | anamasprojects.com

S/T, 2016. Oil on canvas. 200 x 220 cm

Soledad Sevilla | anamasprojects.com

"Espacios en la mirada" in Centro Cultural Tomás y Valiente CEART, Fuenlabrada (Madrid), 2018

Soledad Sevilla | anamasprojects.com

"Espacios en la mirada" in Centro Cultural Tomás y Valiente CEART, Fuenlabrada (Madrid), 2018

Soledad Sevilla | anamasprojects.com

"Espacios en la mirada" in Centro Cultural Tomás y Valiente CEART, Fuenlabrada (Madrid), 2018

Soledad Sevilla | anamasprojects.com

"Espacios en la mirada" in Centro Cultural Tomás y Valiente CEART, Fuenlabrada (Madrid), 2018

Soledad Sevilla | anamasprojects.com

"Soledad Sevilla. Variaciones de una línea, 1966-1986", Centro José Guerrero (Granada), 2015

Soledad Sevilla | anamasprojects.com

"Soledad Sevilla. Variaciones de una línea, 1966-1986", Centro José Guerrero (Granada), 2015

Soledad Sevilla | anamasprojects.com

"Soledad Sevilla. Nuevas Lejanías", Galería Fernandez-Braso (Madrid), 2015

Soledad Sevilla | anamasprojects.com

"Soledad Sevilla. Nuevas Lejanías", Galería Fernandez-Braso (Madrid), 2015

Soledad Sevilla | anamasprojects.com

"Arquitectura agrícola", +R Galería (Barcelona), 2013

Soledad Sevilla | anamasprojects.com

"Arquitectura agrícola", +R Galería (Barcelona), 2013

CV

SOLEDAD SEVILLA

Valencia, 1944.

SOLO EXHIBITIONS (SELECTION)

2015

Nuevas lejanías. Galería Fernández-Braso. Madrid.

Variaciones de una línea, 1966-1986.Centro José Guerrero de Granada.

2013

GALERIA ESPAI 1 Arquitectura agrícola, Barcelona.

GALERIA ESPAI 2 No todo es azar, Barcelona.

2013 GALERIA ESPAI 3 MyLayne, Barcelona.

2012

Retablo, Galería Soledad Lorenzo, Madrid.

2011-2012

ESCRITO EN LOS CUERPOS CELESTES. Museo Nacional Centro de Arte Reina Sofía. Instalación realizada en el Palacio de Cristal del Parque del Retiro en Madrid.

2011

Luces de otoño Art Nueve, Murcia.

2010

Retablo. Galería SCQ Santiago de Compostela.

En dos y tres dimensiones. Sala La Nao. Universidad Internacional Menéndez Pelayo. Santander.

Luces de Agosto. Iberia Art Center. Beijing.

El tiempo vuela. Bienal de Pontevedra. Museo de Pontevedra.

Hilham, Museo nacional de Damasco, Siria.

2008

Transcurso de una obra. Instituto de América de Santa Fe. Santa Fe. Granada.

Obra reciente. Galería Soledad Lorenzo, Madrid.

Las cosas como fueron. Galería Art Nueve, Murcia.

1999

“Soledad Sevilla, Obra reciente”, Galería La Nave, Valencia.

“Soledad Sevilla LUR”, Koldo Mitxelena Kulturenea, San Sebastián.

“Soledad Sevilla, el espacio y el recinto”. IVAM CENTRE DEL CARME. Valencia.

“Soledad Sevilla”. Galería Soledad Lorenzo. Madrid.

“Soledad Sevilla. The Island of the Turtle”. Haim Chanin Fine Arts.

“Soledad Sevilla”. Galería SCQ, Santiago de Compostela.

“Soledad Sevilla: Insomnios”. La Nave Galería. Valencia.

Soledad Sevilla. Galería Senda, Barcelona.

Soledad Sevilla. Sala Robayera. Miengo, Cantabria.

Cuando nada quede. Sólo el mar en los ojos. Sala Amós Salvador, Logroño.

El Rompido. Galería Soledad Lorenzo, Madrid.

Umbrales. Galería Art Nueve, Murcia.

Obra sobre papel. Galería Estiarte. Madrid.

Soledad Sevilla. Galería SCQ, Santiago de Compostela. Ventanas y fronteras. Galería La Nave, Valencia.

Soledad Sevilla. Galería Senda. Barcelona.

1998

Colegio de Arquitectos de Málaga, Málaga.

“El tiempo vuela”, Galería Soledad Lorenzo, Madrid.

1997

Galería La Nave, Valencia.

“Papeles sobre el mar y la albufera”, Galería Sandunga, Granada.

1995

Memoria 1975-1995, Palacio de Velázquez, Madrid Galería Soledad Lorenzo, Madrid.

1994

Galería Theo, Valencia.

1993

Galería Fernando Alcolea, Barcelona.

1991

Sala Luzán, Caja de Ahorros de la Inmaculada, Zaragoza Palacio de los Condes de Gabia, Diputación Provincial, Granada.

Galería Soledad Lorenzo, Madrid.

1989

Galería Rita García, Valencia.

1988

Galería Magda Belloti, Algeciras Galería Soledad Lorenzo, Madrid.

1987

Galería Montenegro, Madrid.

Fundación Rodríguez-Acosta, Granada Galería Palace, Granada.

1985

Museo de Bellas Artes, Málaga.

Museo de Arte Contemporáneo, Sevilla.

1984

Centro Cultual Manuel de Falla, Granada.

1983

Galería Montenegro, Madrid Galería Alençon, Madrid.

1981

Galería Kreisler 2, Madrid.

Massachussetts College of Art, Boston.

1978

Galería Carteia, Algeciras.

Salas de la Dirección Gral. del Patrimonio Artístico, Archivos y Museos, Madrid.

Instituto de Cultura de la Diputación Provincial de Málaga Aula de Cultura de la Caja de Ahorros de Alicante y Murcia, Alicante.

1979-80

Salas de la Dirección General del Patrimonio Artístico, Archivos y Museos.

Exposición Itinerante.

1976

Galería Ferm, Malmoe. Suecia.

1975

Galería Amadís, Madrid.

1973

Casa Damas, Sevilla. Casa de la Cultura, Huelva.

1969

Galería Trilce, Barcelona 1970 Galería Juana de Aizpuru, Sevilla Galería Daniel, Madrid.

WORKS IN COLECTIONS AND MUSEUMS

Fundación Juan March, Madrid.

Colección Testimonio de “La Caixa”, Barcelona.

Banco de España, Madrid.

Patrimonio Nacional.

Museo Nacional Centro de Arte Reina Sofía, Madrid.

Museo de Bellas Artes de Bilbao.

Museo de Bellas Artes de Alava, Vitoria.

Diputación de Granada.

Parlamento Europeo.

Künstmuseum Malmöe, Suecia.

Museo de Villafamés, Castellón.

Museo de Arte Abstracto, Cuenca.

Colección Arte del Siglo XX, Casa de la Asegurada, Alicante.

Museo Marugame Hirai de Arte Español Contemporáneo, Marugame, Japón.

Colección Fundesco, Madrid.

Colección Arte Contemporáneo de la Fundación “La Caixa”, Barcelona.

Colección Fundación Argentaria.

IVAM, Valencia.

ARTIUM, Vitoria.

Colección Aena de Arte Contemporáneo.

Colección Repsol, Madrid.

 

Texts

  • NOTES ON THE VARIATIONS OF SOLEDAD SEVILLA
    Yolanda Romero

    Variations on a Line is the title given to an investigation into the creative origins, methods and processes of Soledad Sevilla between 1966 and 1986. This is not the first time that what we might call her geometrical period has been analysed in an exhibition, but it is the first monographic study.1 Certainly, these germinal moments were to mark the rest of her creative work, for although Sevilla’s investigative zeal has led her to reinvent herself continuously, we can detect some constants in these early works that were to appear throughout her career. One of these, suggested in these early years in works such as MIT Line (1980),2 is the coexistence of painting and installation, which the artist understands as the necessary, logical extension of one onto the other, of the pictorial work on the creation in space. This is why we wanted the latter to be present in this exhibition in the form of a new installation entitled Casa de oro [House of Gold].

    PERMUTATIONS AND VARIATIONS ON A LATTICE

    Soledad Sevilla began her creative activity in the late 1960s, in the field of geometrical abstraction as developed in Spain around the Computing Centre of the Universidad de Madrid and the New Generation and Before Art groups led by José Antonio Aguirre and Vicente Aguilera Cerni. This was the milieu in which Sevilla came into contact with other artists, such as Eusebio Sempere, Manuel Barbadillo, José María Yturralde, Elena Asins, Gerardo Delgado, and Equipo 57, among others, and it was during these years that she took part in the first collective exhibitions as a member of the Seminario de Generación de Formas Plásticas, in 1969 and 1970. It was here that she discovered a context in which to reflect on geometrical abstraction, the problems and conditionings of spatial perception and the interrelation of shapes (but not so much the research field opened up by computers, which the Computing Centre developed and which she soon lost interest in), which she began to develop in the early works presented in this exhibition.

    In the dossier titled Permutaciones y variaciones de una trama [Permutations and Variations on a Lattice] (reproduced here) the artist herself described by way of a synthesis of text and visual examples the foundations of her original creative process over almost a decade, from the late sixties until 1978. During those years, the lattices and shapes developed out of an irregular hexagon and their displacements and superpositions are the basis of a broad family of two-dimensional geometrical compositions that are gradually transformed. As we can see in the examples included in the dossier and in the drawings we have brought together for this exhibition, there is an attempt to codify a system based on just a few elements — first, the hexagon, followed by the square a little later, basic modules from which others are obtained by displacement, symmetry, rotations of forty-five, ninety or a hundred and eighty degrees, or by changing the colours, as can be seen in the drawings made using adhesive lattices on paper and their photocopied reproductions (pp. 84-85).

    Together with these modular shapes that spread across the paper suggesting an infinite multiplication, Soledad Sevilla also developed other compositions using only linear elements arising out of the elimination or addition of parts of the lattice-like figures. This process of simplification of the modular structures was ultimately to become central to her research and opened up new possibilities, such as those developed in the drawings and paintings of 1979 collected under the title Estructura simple. Eje diagonal/horizontal [Simple Structure. Diagonal/Horizontal Axis] (pp. 78-79). As the artista herself stated in the dossier mentioned above: “Through the reiterative use of the line, I attempt to create a magical, mobile, enveloping ambience, full of light and shade, that is to a large extent a fictional space.” In my understanding, this reflection constitutes a declaration of intent, a leitmotiv running through much of her work, especially since the end of the seventies. The possibility opened up by the line for the creation of fictitious spaces, even though many were inspired in reality, was to occupy part of the series and the installations following soon after, as can be seen in the present exhibition. This reflection likewise announces the coming and going between opposite poles that is so characteristic of Sevilla’s career — the static and the mobile, the ephemeral and the permanent, light and dark, positive and negative, emotion and reason, reality and fiction, figurative and abstract art.

    MENINAS AND ALHAMBRAS

    The spark that probably led Soledad Sevilla to take a new turn in her work was her stay in the USA from 1980 to 1982, made possible by a Fulbright grant that allowed her to study in Boston and travel frequently to New York. As she noted in her dossier, the art world in Spain in the 1980s was not the most conducive to her continuing with her experimentation in geometrical lattices. In Boston she discovered new ways to approach her creative activity, producing the Keiko and Stella series (the latter title as a tribute to one of her artistic mentors, together with Sol Lewitt, whose work she was able to see in person in America), attempting her first installation (MIT Line), and beginning the gestation of her Meninas and Alhambras. As Mar Villaespesa has pointed out,3 from this moment on “the line she used to compose the pictures — Las Meninas, La Alhambra — was to produce the construction and reconstruction of the theme, allowing her to transform the formal into sensations and feelings.” The question is that, although these new series still fell within the language of geometry and abstraction, the poetic and emotional element began to take on greater presence. Soledad Sevilla has explained on several occasions how the classes she attended at MIT and Harvard brought about her re-encounter with Velázquez’s Las Meninas, that key work in the history of painting. Just when she was at the greatest physical distance from her own culture, her interest was awoken in its art history and, specifically, in that one enigmatic, inspiring painting. But she was not interested in the picture because of its characters or the interlinked narratives it contains, but in the space, that place where the scene is enacted and constructed through the intangible element of light.

    The space is constructed by the artista using infinite superposed lattices which, as in Velázquez’s picture, ultimately envelope the viewer. While space is the foundation for Sevilla’s series on Las Meninas, done between 1981 and 1983 (with a clear prelude in the series of drawings titled Belmont, done in Boston), it plays the same role in the series La Alhambra, which she painted next (1985-1987). In this case, the seed was planted by Oleg Grabar’s classes at Harvard University on the monument in Granada, and years later bore fruit in Sevilla’s reflection on the architecture of the Alhambra: “The magic of the doors, the magic of the reflections, and the magic of the shadows. All transformed in space, space I have tried to represent on canvas with mists, intimations and lights.”4 But, apart from the architecture, Sevilla was interested in another, essential element of the palaces in Granada — water: the motionless water of the pools, which she introduced not only because of her interest in the reflections, the world of the illusory and of mirrors, but also because of other real elements of nature that gradually began to appear in her installations — fire, smoke and earth. Yet another element took on an increasingly important presence in her work as of the early eighties, and this was colour; vibrant, cold and warm colours, whose interplay reminds us of Rothko’s painting, and suggest infinite spaces, light and shade, day and night, sensations and feelings. The thing is that, once the threshold of form had been crossed, Soledad Sevilla’s painting would no longer be only what can be seen.

    CASA DE ORO

    Soledad Sevilla developed early in her career a special interest in making the space suggested by her paintings a reality in the form of installations, as these allowed her to introduce sense experience into her work, as well as emphasizing the ephemeral, unrepeatable condition of art. While the action of MIT Line can be considered her first approach to installation, in connection with her series of drawings Stella and Keiko, the piece titled Fons et origo [Source and Origin] (1987) might well be seen as the conclusion or extension of her series of paintings inspired by the Alhambra, a reconstruction of the magical, unreal atmosphere reflected in her canvases through the pooled water and the luminous reflections caused by the illuminated cotton threads of which it was made up. Fons et origo was to be the first of a number of installations consisting of cotton or copper threads, in which space and light, trapped and reflected by the filaments, became the central theme of her research. In similar fashion, with Casa de oro — the title of the installation included in this exhibition — the artist has transformed the courtyard of a Moorish house in the Albaicín using the deployment of a number of parallel planes made up of almost one thousand three hundred copper wires, which fill the space with optical and visual effects, while at the same time revealing the materiality of light and space, enveloping the spectator in a shifting, ephemeral atmosphere, depending on the time of day or night.

    The mirror-image nature of many of her Works also becomes a constitutive element of Casa de oro, thanks

    to a false black mirror of wáter painted in the centre of the installation, where the building surrounding the courtyard and

    the copper filaments trapping the surrounding light are reflected. Finally, Casa de oro represents that physical approach to the

    artwork by the spectator who “would be totally enveloped by an inconclusive, mysterious, inaccessible space” and who

    constitutes an essential element of her work from the outset. The question is that, while an analysis of her geometrical period

    provides a glimpse of certain keys in the manner of creation of Soledad Sevilla, it also sheds light on her present activity, for those

    early years established a manner of approaching, researching and understanding a poetic-artistic practice that continues to this day.

    NOTES

    1. In this sense, we should mention her first retrospective exhibition, Memoria. 1975-1995 (Memory. 1975-1995), held at the Palacio de Velázquez in Madrid in 1995, followed by El espacio y el recinto (Space and Enclosure) organized by the IVAM at the Centro del Carmen in Valencia in 2001.
    1. MIT Line consisted in the action of extending large rolls of paper over the outer walls of some of the buildings and on the lawns of the Massachusetts Institute of Technology, on which the artist had drawn different geometrical patterns (similar to those used in the Keiko and Stella series of drawings), and can be considered her first installation.
    1. Mar Villaespesa, “Memoria. Soledad Sevilla 1975-1995”, in Memoria. Soledad Sevilla 1975-1995, Madrid: Ministerio de Cultura, 1995 (catalogue of the exhibitionheld in the Palacio de Velázquez).
    1. Soledad Sevilla, “La Alhambra”, in Soledad Sevilla: La Alhambra, Madrid: Galería Montenegro, 1987.
  • WRITTEN ON THE CELESTIAL BODIES
    Soledad Sevilla en el Palacio de Cristal, parque del Retiro, Madrid.
    Museo Nacional Centro de Arte Reina Sofía

    Having studied primary structures at the Computing Centre in Madrid, Soledad Sevilla (1944) creates installations that transform geometry into a subtle reflection on experience, matter, colour and light, intersecting sensitive and specific elements in her sculptures. Written on the celestial bodies, her largest work to date, is a site-specific piece that reproduces the vault of the Palace itself, recreating the image of the night sky.

    Since she began her career at the end of the 1960s, when she participated in the Seminar on Automatic Generation of Plastic Forms held at the Computing Centre of the Universidad Complutense de Madrid, Soledad Sevilla (Valencia, 1944) has explored the relationship between light, matter and space, combining analytical rigor and geometric order with a search for a sensorial and organic experience. Her works possess an internal poetic logic that makes them singular. Playing an important role in them are the evocation of the intangible, reflection on time and language, the presence of the paradoxical and investigation into the perceptive conditions of the senses.

    Over time Soledad Sevilla moved from a style of painting that was serial and geometric (although always impregnated by small gestures and imprecisions that personalized and humanized it), to a more lyrical abstraction that seeks complicity between the emotional and the rational and where geometry becomes a tool for spatial analysis. In the mid 1980s she began to create her first installations. She considers installation art a medium complementary to the pictorial medium and establishes a rich feedback process between the two. In her installation pieces – which are situated on the border between sculpture, land art and architecture – Sevilla plays with the spectator’s sensorial and bodily perception, with the tension between interiority and exteriority, between visibility and invisibility, between intimate experiences and public experiences, while always taking into consideration the specific features of the place hosting the installation. The artist designs abstract and complex structures but their organic dimension is always made clear, because they either incorporate or evoke natural elements and materials, undergo processes of cyclic transformation or are susceptible to the influence of external agents.

    Written on the celestial bodies is an installation created specifically for Palacio de Cristal, in Madrid’s Parque del Buen Retiro. In it Soledad Sevilla reproduces the dome and the walls of the building, using an aluminium structure and a series of polycarbonate panels that recreate the image of a night sky in which various linguistic signs are floating, as if they were randomly placed stars. In other words, the Palacio de Cristal, originally a greenhouse for tropical plants, contains a replica of itself that functions as a second skin. This skin is a porous and ephemeral one that protects from the exterior (from the outside), and at the same time reflects and recreates that exterior, enabling the building to become a space for reflection about the fragility of language and the need for communication and sharing.

    This exhibition is part of the Miradas de Mujeres Festival, organised by MAV (Women in the Visual Arts)

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