AMP_Ferias


Artissima 2017 || Àngels Ribé

03/11/2017 - 05/11/2017


+ PROJECTS
Artissima 2017 || Àngels Ribé | anamasprojects.com


CloseViews

Text

Angels Ribé / Artissima

At the beginning of the 80’s, Spain placed itself at the first stage of a long social-political recover period after 40 years under the yoke of a dictatorship and the afterwards coercions of a wide variety of essential freedoms.

In the art context, it was the moment of exaltation of what was known as painting-painting, that is, an heterogeneous painting movement involving a variety of artists’ cast who took as referents practices, styles and trends as varied as English Pop Art, French Figuration, American Action Painting, M. Pleynet’s proposals, narrative and historic trends, gestural and lyrical abstraction, etc.

Together with this pictorial crusade boosted mainly by public institutions and exhibitions proposed programmatically such as the art of the new decade –especially “1980” at Juana Mordó Gallery, 1979 and “Madrid D.F.” at the Municipal Museum, 1980- it was still beating in our country the seed of the “Pamplona Encounters” in 1972. A cultural event that meant for many people the opportunity of first-hand knowledge regarding conceptual art, poetical and musical avant-garde, various types of marginal art and, above all, trends and artistic practices perfectly established beyond our borders and the embracement with the creative and conceptual freedom which was constantly chased in our country.

Although many conceptual artists in Spain in the 1970’s were prompted to undertake the path abroad for being able to establish their artistic concerns, there were also the ones who after this international drift came back to Spain to continue, from there, the development of their careers.

After her sociology studies at Paris Sorbonne during late 1960’s and eight years residency in New York, Àngels Ribé came back to Spain with an artistic language perfectly articulated around an interest for the shape universe, geometry, volume, symbolism, intervention in the public space, the participative and collective aspect of the artwork but, above all, around the discourse about the art dematerialization through actions undertaken by herself –that is, her own body-, natural elements, the space related to herself and even the intervention of the subconscious.

In a sort of dissolution of means aimed to recover the object in its most essential aspect, Àngels Ribé conceived in 1983 a series of works for the exhibition “Fuera de Formato”, a show organized by the Cultural Center of Madrid and curated by Teresa Camps, Concha Jerez and Nacho Criado as a result of the desire of evidencing the continuity of the conceptual practices in the Spanish art context.

The works created by Àngels Ribé especially for the occasion configure all together a sort of landscape to the extent that, through various artistic languages located in between sculpture, painting and installation, the artworks are referred to so characteristic elements from a landscape such as the profile of a mountain, the sun, a cloud, a lake or a series of three drawings alluding to the continuity of the sea horizon. In these works the artist, without relinquishing his interest for the space and its cosmic relation with the universe, trespassed into the sculptural practice establishing certain nods with the painting language and the aim of creating a microcosms tailor-made by the artist.

Through this so private and particular universe inhabited by ideas and concepts from where Ribé is nourished since the beginning of her degree towards the end of the 60’s, what offers us is the possibility of penetrating into the practice of an artist whose body of work alludes to the disorientation that always appears in front of the eternal question of knowing who we are.