<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n——————“ARTIST”, memory, desire, and provocation—————————————-<\/p>\nArtists are commonly associated with being winged, somewhat foolish beings who feed on poetry and live on air. However, I can assure you that this stereotypical image is not entirely objective; it is merely an infinitesimal part of the whole. Miguel \u00c1ngel Ga\u00fceca, a Basque photographer and sculptor, is “Artist,” and vice versa, “Artist” is Miguel \u00c1ngel Ga\u00fceca. <\/p>\n
In the 1980s, and following my collaboration on the project for the “Plaza de Salvador Dal\u00ed” in Madrid, Ga\u00fceca was commissioned to photograph the bronze foundry process of the “Newton,” a 3-meter-high sculpture whose original is located at the Dal\u00ed Theatre-Museum in Figueres. Now, some of these photographs, the only ones preserved, form part of the project exhibited at ART Espai Rossell\u00f3 T\u00e0rraco, the small corner of my workshop. These historical photographs document a team effort. <\/p>\n
And so that the project would not remain frozen in time\u2014for photographs of the past always have something inevitable that connects them with death\u2014I asked Ga\u00fceca for one of his magnificent current photographs, from those reproduced in “Deals, Shapes and Void. Ga\u00fceca,” published by “ARTIUM Basque Museum-Center of Contemporary Art.” It is a daring and transgressive self-portrait, much like the “movida madrile\u00f1a” of which he is a rightful heir in contemporary terms. It is no coincidence that he has also taken photographs of Alaska for the covers of some of her albums. <\/p>\n
“Artist” goes beyond the conventional self-portrait; it is the artist offering himself entirely to the public as an advertisement man for erotic pages. A brazen work where even the phone numbers belong to the artist. Provocation was one of the permanent keys of the Surrealists, and naturally, of Salvador Dal\u00ed. Ga\u00fceca enjoys provocation; from the trihedral angle of a room, he looks at us enticingly and invites us to enter his world, a world hidden in the images of the book that remains closed at the foot of the exhibited photograph. Love and death, ghosts, history, and luxury. <\/p>\n
A magical exhibition project, perhaps for better times than those we are currently experiencing, and which has the honor of raising the curtain on the events of Tarragona, capital of Catalan culture.<\/p>\n
———————————————Josep Maria Rossell\u00f3———————————————————<\/p>\n
<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n——————“ARTIST”, memory, desire, and provocation—————————————-<\/p>\nArtists are commonly associated with being winged, somewhat foolish beings who feed on poetry and live on air. However, I can assure you that this stereotypical image is not entirely objective; it is merely an infinitesimal part of the whole. Miguel \u00c1ngel Ga\u00fceca, a Basque photographer and sculptor, is “Artist,” and vice versa, “Artist” is Miguel \u00c1ngel Ga\u00fceca. <\/p>\n
In the 1980s, and following my collaboration on the project for the “Plaza de Salvador Dal\u00ed” in Madrid, Ga\u00fceca was commissioned to photograph the bronze foundry process of the “Newton,” a 3-meter-high sculpture whose original is located at the Dal\u00ed Theatre-Museum in Figueres. Now, some of these photographs, the only ones preserved, form part of the project exhibited at ART Espai Rossell\u00f3 T\u00e0rraco, the small corner of my workshop. These historical photographs document a team effort. <\/p>\n
And so that the project would not remain frozen in time\u2014for photographs of the past always have something inevitable that connects them with death\u2014I asked Ga\u00fceca for one of his magnificent current photographs, from those reproduced in “Deals, Shapes and Void. Ga\u00fceca,” published by “ARTIUM Basque Museum-Center of Contemporary Art.” It is a daring and transgressive self-portrait, much like the “movida madrile\u00f1a” of which he is a rightful heir in contemporary terms. It is no coincidence that he has also taken photographs of Alaska for the covers of some of her albums. <\/p>\n
“Artist” goes beyond the conventional self-portrait; it is the artist offering himself entirely to the public as an advertisement man for erotic pages. A brazen work where even the phone numbers belong to the artist. Provocation was one of the permanent keys of the Surrealists, and naturally, of Salvador Dal\u00ed. Ga\u00fceca enjoys provocation; from the trihedral angle of a room, he looks at us enticingly and invites us to enter his world, a world hidden in the images of the book that remains closed at the foot of the exhibited photograph. Love and death, ghosts, history, and luxury. <\/p>\n
A magical exhibition project, perhaps for better times than those we are currently experiencing, and which has the honor of raising the curtain on the events of Tarragona, capital of Catalan culture.<\/p>\n
———————————————Josep Maria Rossell\u00f3———————————————————<\/p>\n
<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n——————“ARTIST”, memory, desire, and provocation—————————————-<\/p>\nArtists are commonly associated with being winged, somewhat foolish beings who feed on poetry and live on air. However, I can assure you that this stereotypical image is not entirely objective; it is merely an infinitesimal part of the whole. Miguel \u00c1ngel Ga\u00fceca, a Basque photographer and sculptor, is “Artist,” and vice versa, “Artist” is Miguel \u00c1ngel Ga\u00fceca. <\/p>\n
In the 1980s, and following my collaboration on the project for the “Plaza de Salvador Dal\u00ed” in Madrid, Ga\u00fceca was commissioned to photograph the bronze foundry process of the “Newton,” a 3-meter-high sculpture whose original is located at the Dal\u00ed Theatre-Museum in Figueres. Now, some of these photographs, the only ones preserved, form part of the project exhibited at ART Espai Rossell\u00f3 T\u00e0rraco, the small corner of my workshop. These historical photographs document a team effort. <\/p>\n
And so that the project would not remain frozen in time\u2014for photographs of the past always have something inevitable that connects them with death\u2014I asked Ga\u00fceca for one of his magnificent current photographs, from those reproduced in “Deals, Shapes and Void. Ga\u00fceca,” published by “ARTIUM Basque Museum-Center of Contemporary Art.” It is a daring and transgressive self-portrait, much like the “movida madrile\u00f1a” of which he is a rightful heir in contemporary terms. It is no coincidence that he has also taken photographs of Alaska for the covers of some of her albums. <\/p>\n
“Artist” goes beyond the conventional self-portrait; it is the artist offering himself entirely to the public as an advertisement man for erotic pages. A brazen work where even the phone numbers belong to the artist. Provocation was one of the permanent keys of the Surrealists, and naturally, of Salvador Dal\u00ed. Ga\u00fceca enjoys provocation; from the trihedral angle of a room, he looks at us enticingly and invites us to enter his world, a world hidden in the images of the book that remains closed at the foot of the exhibited photograph. Love and death, ghosts, history, and luxury. <\/p>\n
A magical exhibition project, perhaps for better times than those we are currently experiencing, and which has the honor of raising the curtain on the events of Tarragona, capital of Catalan culture.<\/p>\n
———————————————Josep Maria Rossell\u00f3———————————————————<\/p>\n
<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>