Often, proposals related to the plastic arts prove to be closer to literary essays or research theses than to strict aesthetic formulations. This is the fluid environment in which contemporary thought operates, where the structures of diverse arts converge. It is in this fertile ground that Jordi Abell\u00f3’s latest work on the origin and oeuvre of the eminent architect Antoni Gaud\u00ed germinates and grows. Both authors are from Reus. Or not. Personally, the fact that the artist was born in one place or another seems rather inconsequential to me. But not concerning the territory, which with its telluric force forges and impels the spirit. Joan Mir\u00f3, the magician, always acknowledged the influence that the Camp de Tarragona had on his work. And Gaud\u00ed, too. It is another matter entirely what manipulation can be made of all this, to capitalize on the origin and reap good fruits, perhaps due to the lack of works by the brilliant architect, precisely in Reus. (The goats, for their sins, have scraped knees). And thus, Mas de la Calderera in Riudoms, where he was born, has been marginalized, yet it still stands, just as Mas Mir\u00f3 still exists in the municipality of Mont-Roig, always with the hope that someone will awaken it from its nightmare. <\/p>\n

<\/div>\n

Now, as the year begins, Jordi Abell\u00f3’s exhibition <Gaud\u00ed was born at Mas de la Calderera in Riudoms> is ending, but we can still see the video projection at Galeria Anquins in Reus, and if not, the Internet will always remain. The doors have been open to research. The proposal is vibrant, poignant, and inspiring. The author, audacious, has pulled the rug and shaken all the foundations of Art History. It is the New History of Art, where it is demonstrated that acknowledging shortcomings does not diminish creation. The imposing presence of the table the architect had in his workshop at the Sagrada Familia, in Barcelona, is his territory, the Camp de Tarragona. In Jordi Abell\u00f3’s trajectory, there is the precedent of an earlier work < From (positions), eight proposals concerning Gaud\u00ed>, a highly interesting collective exhibition that we saw in 2002, at the Roman Circus of Tarragona. Now, what is truly surprising is when Abell\u00f3 asserts that Antoni Gaud\u00ed carried within him the essential forms of Casa Mil\u00e0, better known as La Pedrera, in Barcelona. Geological forms, akin to the structures of caves eroded by the action of wind and water. Forms that recall the magical stones of La Roca de Mont-Roig. But upon seeing the spectral X-ray images of the osteoporosis that afflicted the architect’s bones, previous theories collapse, and science and art converge, and the thesis of the reflection of the inner world with exceptional weight prevails. Through an unconscious mimetic action, the artist faithfully reproduces forms that physically exist within him, gnawing at him and causing him pain. Many are the hidden shortcomings in Art History. What remains for us is the rootedness in the territory and absolute faith in the inner world. <\/p>\n

PRESS RELEASE: Jordi Abell\u00f3 Exhibits at Galeria Anquin\u2019S in Reus \u201cGaud\u00ed Was Born at Mas De La Calderera\u201d<\/h2>\n
$\"Invitation_GAUDI_Anquins\"$ <\/a><\/p>\n
Sole event in the capital of Baix Camp to see the latest work by the Reus-born artist<\/p>\n
The artist from Reus, Jordi Abell\u00f3, will premiere the exhibition \u201cGaud\u00ed was born at Mas de la Calderera in Riudoms\u201d on January 8th in Reus at Galeria Anquin\u2019s (C\/ Campoamor, 2). The exhibition, which can be seen at 7:30 PM in a single session, has little to do with the birth of the architect Antoni Gaud\u00ed, although it alludes to his origins. Based on audiovisual documents and brief texts, the video projection is a journey through the most important elements of Gaud\u00ed’s work, seeking the foundations that creation entails. Jordi Abell\u00f3 explains that \u201cthe journey is a metaphor for the creation of art: thought, the study of nature, introspection, the importance of light, and the devastation of man to achieve art in the service of power\u201d. The exhibition allows one to place oneself at the embryo of creation and see how creation begins at this point. The relationships between the different videos are also intended to provoke new associations among viewers. <\/p>\n
The videos exhibited in Reus are:<\/p>\n
1- \u201cGaud\u00ed\u2019s Table\u201d (2005). It recreates the architect\u2019s table (a replica of the one existing in the Sagrada Familia workshop) and the objects it contained, and how a child approaches it and explores its contents. <\/p>\n
2- \u201cWhere La Pedrera Comes From\u201d (2005). An audiovisual work demonstrating that art is carried within. Gaud\u00ed suffered from osteoporosis, and contemporary images of this disease show that Gaud\u00ed\u2019s La Pedrera was already in his bones when he designed it. <\/p>\n
3- \u201cThe New History of Art\u201d (2011). This video links art and power. Its main patron trafficked in slaves and exploited workers and minors. Gaud\u00ed knew this and built his work despite this suffering, disregarding the personal consequences. His source of funding is not without controversy. Is it legitimate for art to cleanse consciences? Does art truly justify everything? Does art kill? These are questions to consider when approaching Gaud\u00ed\u2019s art, according to Jordi Abell\u00f3. <\/p>\n
4- \u201cSaturn\u201d (2012). A video that uncovers the brilliant architect\u2019s brain and the image it contains. Melancholy is one of the sentiments that provokes creation and is under the influence of the planet Saturn. <\/p>\n
@abellovilella #gaud\u00edriudoms
\n http:\/\/www.facebook.com\/jordi.abellovilella<\/a><\/p>\n
www.jordiabello.com<\/a>
\n#gaud\u00edriudoms<\/p>\n
Abell\u00f3 imagines that Gaud\u00ed\u2019s brain conceived images under the same influence.<\/p>\n
5- \u201cGeometer\u201d (2012). This is an unreleased audiovisual work that highlights his being a geometer, understood as synthetic. Jordi Abell\u00f3 starts from the study sheets of his time and imagines how he sought form through concentric movement, counter-clockwise (a movement that, incidentally, recalls that of the human genome helix). <\/p>\n
6- \u201cLight Paints\u201d (2012). This is also a work created specifically for the exhibition. Gaud\u00ed believed that the light in Camp de Tarragona had an amplitude of 45\u00ba and asserted that it was ideal for seeing things clearly. In this audiovisual, Jordi Abell\u00f3 shows how this light paints on the surrounding walls. <\/p>\n
The production of the videos was carried out by La Ferida, while the texts are the work of M\u00e0rius Domingo.<\/p>\n
Closing event with a visit to Mas de la Calderera<\/p>\n
The exhibition premiered at the Centre d\u2019Estudis Riudomencs in Riudoms last December, and on January 27th, as a closing event, a guided visit to Mas de la Calderera will take place with the artist Jordi Abell\u00f3. The departure is scheduled for 11:30 AM at the Riudoms Church and costs one euro for adults and is free for children. The artist and attendees will conduct a collective search for latent elements at the Riudoms farmhouse that demonstrate Gaud\u00ed was inspired by his place of origin. For more information http:\/\/cerap.cat\/agenda02.php?recordID=130&opcio=04<\/a>. <\/p>\n
For further details, you may contact Jordi Abell\u00f3 at 616 53 68 20.<\/p>\n
@abellovilella #gaud\u00edriudoms
\n http:\/\/www.facebook.com\/jordi.abellovilella<\/a><\/p>\n
Often, proposals related to the plastic arts prove to be closer to literary essays or research theses than to strict aesthetic formulations. This is the fluid environment in which contemporary thought operates, where the structures of diverse arts converge. It is in this fertile ground that Jordi Abell\u00f3’s latest work on the origin and oeuvre of the eminent architect Antoni Gaud\u00ed germinates and grows. Both authors are from Reus. Or not. Personally, the fact that the artist was born in one place or another seems rather inconsequential to me. But not concerning the territory, which with its telluric force forges and impels the spirit. Joan Mir\u00f3, the magician, always acknowledged the influence that the Camp de Tarragona had on his work. And Gaud\u00ed, too. It is another matter entirely what manipulation can be made of all this, to capitalize on the origin and reap good fruits, perhaps due to the lack of works by the brilliant architect, precisely in Reus. (The goats, for their sins, have scraped knees). And thus, Mas de la Calderera in Riudoms, where he was born, has been marginalized, yet it still stands, just as Mas Mir\u00f3 still exists in the municipality of Mont-Roig, always with the hope that someone will awaken it from its nightmare. <\/p>\n
<\/div>\n
Now, as the year begins, Jordi Abell\u00f3’s exhibition <Gaud\u00ed was born at Mas de la Calderera in Riudoms> is ending, but we can still see the video projection at Galeria Anquins in Reus, and if not, the Internet will always remain. The doors have been open to research. The proposal is vibrant, poignant, and inspiring. The author, audacious, has pulled the rug and shaken all the foundations of Art History. It is the New History of Art, where it is demonstrated that acknowledging shortcomings does not diminish creation. The imposing presence of the table the architect had in his workshop at the Sagrada Familia, in Barcelona, is his territory, the Camp de Tarragona. In Jordi Abell\u00f3’s trajectory, there is the precedent of an earlier work < From (positions), eight proposals concerning Gaud\u00ed>, a highly interesting collective exhibition that we saw in 2002, at the Roman Circus of Tarragona. Now, what is truly surprising is when Abell\u00f3 asserts that Antoni Gaud\u00ed carried within him the essential forms of Casa Mil\u00e0, better known as La Pedrera, in Barcelona. Geological forms, akin to the structures of caves eroded by the action of wind and water. Forms that recall the magical stones of La Roca de Mont-Roig. But upon seeing the spectral X-ray images of the osteoporosis that afflicted the architect’s bones, previous theories collapse, and science and art converge, and the thesis of the reflection of the inner world with exceptional weight prevails. Through an unconscious mimetic action, the artist faithfully reproduces forms that physically exist within him, gnawing at him and causing him pain. Many are the hidden shortcomings in Art History. What remains for us is the rootedness in the territory and absolute faith in the inner world. <\/p>\n
PRESS RELEASE: Jordi Abell\u00f3 Exhibits at Galeria Anquin\u2019S in Reus \u201cGaud\u00ed Was Born at Mas De La Calderera\u201d<\/h2>\n
$\"Invitation_GAUDI_Anquins\"$ <\/a><\/p>\n
Sole event in the capital of Baix Camp to see the latest work by the Reus-born artist<\/p>\n
The artist from Reus, Jordi Abell\u00f3, will premiere the exhibition \u201cGaud\u00ed was born at Mas de la Calderera in Riudoms\u201d on January 8th in Reus at Galeria Anquin\u2019s (C\/ Campoamor, 2). The exhibition, which can be seen at 7:30 PM in a single session, has little to do with the birth of the architect Antoni Gaud\u00ed, although it alludes to his origins. Based on audiovisual documents and brief texts, the video projection is a journey through the most important elements of Gaud\u00ed’s work, seeking the foundations that creation entails. Jordi Abell\u00f3 explains that \u201cthe journey is a metaphor for the creation of art: thought, the study of nature, introspection, the importance of light, and the devastation of man to achieve art in the service of power\u201d. The exhibition allows one to place oneself at the embryo of creation and see how creation begins at this point. The relationships between the different videos are also intended to provoke new associations among viewers. <\/p>\n
The videos exhibited in Reus are:<\/p>\n
1- \u201cGaud\u00ed\u2019s Table\u201d (2005). It recreates the architect\u2019s table (a replica of the one existing in the Sagrada Familia workshop) and the objects it contained, and how a child approaches it and explores its contents. <\/p>\n
2- \u201cWhere La Pedrera Comes From\u201d (2005). An audiovisual work demonstrating that art is carried within. Gaud\u00ed suffered from osteoporosis, and contemporary images of this disease show that Gaud\u00ed\u2019s La Pedrera was already in his bones when he designed it. <\/p>\n
3- \u201cThe New History of Art\u201d (2011). This video links art and power. Its main patron trafficked in slaves and exploited workers and minors. Gaud\u00ed knew this and built his work despite this suffering, disregarding the personal consequences. His source of funding is not without controversy. Is it legitimate for art to cleanse consciences? Does art truly justify everything? Does art kill? These are questions to consider when approaching Gaud\u00ed\u2019s art, according to Jordi Abell\u00f3. <\/p>\n
4- \u201cSaturn\u201d (2012). A video that uncovers the brilliant architect\u2019s brain and the image it contains. Melancholy is one of the sentiments that provokes creation and is under the influence of the planet Saturn. <\/p>\n
@abellovilella #gaud\u00edriudoms
\n http:\/\/www.facebook.com\/jordi.abellovilella<\/a><\/p>\n
www.jordiabello.com<\/a>
\n#gaud\u00edriudoms<\/p>\n
Abell\u00f3 imagines that Gaud\u00ed\u2019s brain conceived images under the same influence.<\/p>\n
5- \u201cGeometer\u201d (2012). This is an unreleased audiovisual work that highlights his being a geometer, understood as synthetic. Jordi Abell\u00f3 starts from the study sheets of his time and imagines how he sought form through concentric movement, counter-clockwise (a movement that, incidentally, recalls that of the human genome helix). <\/p>\n
6- \u201cLight Paints\u201d (2012). This is also a work created specifically for the exhibition. Gaud\u00ed believed that the light in Camp de Tarragona had an amplitude of 45\u00ba and asserted that it was ideal for seeing things clearly. In this audiovisual, Jordi Abell\u00f3 shows how this light paints on the surrounding walls. <\/p>\n
The production of the videos was carried out by La Ferida, while the texts are the work of M\u00e0rius Domingo.<\/p>\n
Closing event with a visit to Mas de la Calderera<\/p>\n
The exhibition premiered at the Centre d\u2019Estudis Riudomencs in Riudoms last December, and on January 27th, as a closing event, a guided visit to Mas de la Calderera will take place with the artist Jordi Abell\u00f3. The departure is scheduled for 11:30 AM at the Riudoms Church and costs one euro for adults and is free for children. The artist and attendees will conduct a collective search for latent elements at the Riudoms farmhouse that demonstrate Gaud\u00ed was inspired by his place of origin. For more information http:\/\/cerap.cat\/agenda02.php?recordID=130&opcio=04<\/a>. <\/p>\n
For further details, you may contact Jordi Abell\u00f3 at 616 53 68 20.<\/p>\n
@abellovilella #gaud\u00edriudoms
\n http:\/\/www.facebook.com\/jordi.abellovilella<\/a><\/p>\n
Often, proposals related to the plastic arts prove to be closer to literary essays or research theses than to strict aesthetic formulations. This is the fluid environment in which contemporary thought operates, where the structures of diverse arts converge. It is in this fertile ground that Jordi Abell\u00f3’s latest work on the origin and oeuvre of the eminent architect Antoni Gaud\u00ed germinates and grows. Both authors are from Reus. Or not. Personally, the fact that the artist was born in one place or another seems rather inconsequential to me. But not concerning the territory, which with its telluric force forges and impels the spirit. Joan Mir\u00f3, the magician, always acknowledged the influence that the Camp de Tarragona had on his work. And Gaud\u00ed, too. It is another matter entirely what manipulation can be made of all this, to capitalize on the origin and reap good fruits, perhaps due to the lack of works by the brilliant architect, precisely in Reus. (The goats, for their sins, have scraped knees). And thus, Mas de la Calderera in Riudoms, where he was born, has been marginalized, yet it still stands, just as Mas Mir\u00f3 still exists in the municipality of Mont-Roig, always with the hope that someone will awaken it from its nightmare. <\/p>\n
<\/div>\n
Now, as the year begins, Jordi Abell\u00f3’s exhibition concludes, <Gaud\u00ed was born at Mas de la Calderera in Riudoms>, but we can still view the video projection at Galeria Anquins in Reus, and if not, the internet will always remain. The doors have been open to research. The proposal is vibrant, poignant, and inspiring. The author, impassioned, has pulled back the curtain and shaken all the foundations of Art History. It is the New History of Art, where it is demonstrated that acknowledging shortcomings does not diminish creation. The imposing presence of the table the architect had in his workshop at the Sagrada Familia, in Barcelona, is his territory, the Camp de Tarragona. In Jordi Abell\u00f3’s trajectory, there is a precedent of a previous work, < From (positions), eight proposals around Gaud\u00ed>, a highly interesting collective exhibition that we saw in 2002, at the Roman Circus of Tarragona. Now, what is truly surprising is when Abell\u00f3 asserts that Antoni Gaud\u00ed carried within him the essential forms of Casa Mil\u00e0, better known as La Pedrera, in Barcelona. Geological forms, close to the structures of caves eroded by the action of wind and water. Forms that recall the magical stones of La Roca de Mont-Roig. But upon seeing the spectral X-ray images of the osteoporosis disease that took hold of the architect’s bones, previous theories collapse, and science and art converge, imposing the thesis of the reflection of the inner world with exceptional weight. Through an unconscious mimetic action, the artist faithfully reproduces forms that physically exist within him, gnawing at him and causing him pain. Many are the hidden deficiencies in the History of Art. What remains for us is the rootedness in the territory and absolute faith in the inner world. <\/p>\n
PRESS RELEASE: Jordi Abell\u00f3 Exhibits at Galeria Anquin’s in Reus “Gaud\u00ed Was Born at Mas De La Calderera”<\/h2>\n
$\"Invitation_GAUDI_Anquins\"$ <\/a><\/p>\n
Sole event in the capital of Baix Camp to see the latest work by the artist from Reus<\/p>\n
The artist from Reus, Jordi Abell\u00f3, will premiere the exhibition “Gaud\u00ed was born at Mas de la Calderera in Riudoms” on January 8th in Reus at Galeria Anquin’s (C\/ Campoamor, 2). The exhibition, which can be seen at 7:30 PM in a single session, has little to do with the birth of the architect Antoni Gaud\u00ed, although it alludes to his origins. Based on audiovisual documents and brief texts, the video projection is a journey through the most important elements of Gaud\u00ed’s work, seeking the foundations inherent in creation. Jordi Abell\u00f3 explains that “the journey is a metaphor for the creation of art: thought, the study of nature, introspection, the importance of light, and the devastation of man to achieve art in the service of power.” The exhibition allows one to place oneself at the embryo of creation and see how creation begins at this point. The relationships between the different videos should also provoke new associations among viewers. <\/p>\n
The videos exhibited in Reus are:<\/p>\n
1- \u201cGaud\u00ed’s Table\u201d (2005). It recreates the architect’s table (a replica of the one in the Sagrada Familia workshop) and the objects it contained, and how a child approaches it and explores its contents. <\/p>\n
2- \u201cWhere La Pedrera Comes From\u201d (2005). An audiovisual that demonstrates that art is carried within. Gaud\u00ed suffered from osteoporosis, and contemporary images of this disease demonstrate that Gaud\u00ed’s Pedrera was already in his bones when he designed it. <\/p>\n
3- \u201cThe New History of Art\u201d (2011). The video links art and power. His main patron trafficked in slaves and exploited workers and minors. Gaud\u00ed knew this and built his work despite this suffering, disregarding the personal consequences. His source of funding is not without controversy. Is it legitimate for art to cleanse consciences? Does art truly justify everything? Does art kill? These are questions to consider when approaching Gaud\u00ed’s art, according to Jordi Abell\u00f3. <\/p>\n
4- \u201cSaturn\u201d (2012). A video that uncovers the brilliant architect’s brain and the image it contains. Melancholy is one of the feelings that provokes creation and is under the influence of the planet Saturn. <\/p>\n
@abellovilella #gaud\u00edriudoms
\n http:\/\/www.facebook.com\/jordi.abellovilella<\/a><\/p>\n
www.jordiabello.com<\/a>
\n#gaud\u00edriudoms<\/p>\n
Abell\u00f3 imagines that Gaud\u00ed’s brain conceived images under the same influence.<\/p>\n
5- \u201cGeometer\u201d (2012). It is an unreleased audiovisual that highlights his being a geometer, understood as synthetic. Jordi Abell\u00f3 starts from the study sheets of his time and imagines how he sought form through concentric movement, contrary to the movement of clock hands (a movement that, incidentally, recalls that of the human genome helix). <\/p>\n
6- \u201cLight Paints\u201d (2012). It is also a work created specifically for the exhibition. Gaud\u00ed believed that the light in Camp de Tarragona had an amplitude of 45\u00ba and asserted that it was ideal for seeing things clearly. In this audiovisual, Jordi Abell\u00f3 shows how this light paints on the surrounding walls. <\/p>\n
The production of the videos was carried out by La Ferida, while the texts are the work of M\u00e0rius Domingo.<\/p>\n
Closing event with a visit to Mas de la Calderera<\/p>\n
The exhibition premiered at the Centre d\u2019Estudis Riudomencs in Riudoms last December, and on January 27th, as a closing event, a guided visit to Mas de la Calderera with the artist Jordi Abell\u00f3 will take place. The departure is scheduled for 11:30 AM at the Church of Riudoms and costs one euro for adults and is free for children. The artist and attendees will conduct a collective search for latent elements at the Riudoms farmhouse that demonstrate Gaud\u00ed was inspired by his place of origin. For more information http:\/\/cerap.cat\/agenda02.php?recordID=130&opcio=04<\/a>. <\/p>\n
For further details, please contact Jordi Abell\u00f3 at 616 53 68 20.<\/p>\n
@abellovilella #gaud\u00edriudoms
\n http:\/\/www.facebook.com\/jordi.abellovilella<\/a><\/p>\n
Often, proposals related to plastic arts turn out to be closer to literary essays or research theses than to strict aesthetic formulations. It is the fluid environment where current thought moves, where the structures of diverse arts merge. It is in this fertile ground that Jordi Abell\u00f3’s latest work on the origin and work of the excellent architect Antoni Gaud\u00ed germinates and grows. Both authors are from Reus. Or not. Personally, the fact that the artist was born in one place or another seems rather inconsequential to me. But not regarding the territory, which with its telluric force forges and drives the spirit. Joan Mir\u00f3, the magician, always acknowledged the influence that the Camp de Tarragona had on his work. And Gaud\u00ed, too. Another matter is the manipulation that can be made of all this, to capitalize on the origin and reap good fruits, perhaps due to the lack of works by the brilliant architect, precisely in Reus. (Such omissions have their repercussions). And thus, Mas de la Calderera in Riudoms, where he was born and which still stands, has been marginalized, just as Mas Mir\u00f3 still exists in the municipality of Mont-Roig, always with the hope that someone will awaken it from its nightmare. <\/p>\n
<\/div>\n
Now, as the year begins, Jordi Abell\u00f3’s exhibition concludes, <Gaud\u00ed was born at Mas de la Calderera in Riudoms>, but we can still view the video projection at Galeria Anquins in Reus, and if not, the internet will always remain. The doors have been open to research. The proposal is vibrant, poignant, and inspiring. The author, impassioned, has pulled back the curtain and shaken all the foundations of Art History. It is the New History of Art, where it is demonstrated that acknowledging shortcomings does not diminish creation. The imposing presence of the table the architect had in his workshop at the Sagrada Familia, in Barcelona, is his territory, the Camp de Tarragona. In Jordi Abell\u00f3’s trajectory, there is a precedent of a previous work, < From (positions), eight proposals around Gaud\u00ed>, a highly interesting collective exhibition that we saw in 2002, at the Roman Circus of Tarragona. Now, what is truly surprising is when Abell\u00f3 asserts that Antoni Gaud\u00ed carried within him the essential forms of Casa Mil\u00e0, better known as La Pedrera, in Barcelona. Geological forms, close to the structures of caves eroded by the action of wind and water. Forms that recall the magical stones of La Roca de Mont-Roig. But upon seeing the spectral X-ray images of the osteoporosis disease that took hold of the architect’s bones, previous theories collapse, and science and art converge, imposing the thesis of the reflection of the inner world with exceptional weight. Through an unconscious mimetic action, the artist faithfully reproduces forms that physically exist within him, gnawing at him and causing him pain. Many are the hidden deficiencies in the History of Art. What remains for us is the rootedness in the territory and absolute faith in the inner world. <\/p>\n
PRESS RELEASE: Jordi Abell\u00f3 Exhibits at Galeria Anquin’s in Reus “Gaud\u00ed Was Born at Mas De La Calderera”<\/h2>\n
$\"Invitation_GAUDI_Anquins\"$ <\/a><\/p>\n
Sole event in the capital of Baix Camp to see the latest work by the artist from Reus<\/p>\n
The artist from Reus, Jordi Abell\u00f3, will premiere the exhibition “Gaud\u00ed was born at Mas de la Calderera in Riudoms” on January 8th in Reus at Galeria Anquin’s (C\/ Campoamor, 2). The exhibition, which can be seen at 7:30 PM in a single session, has little to do with the birth of the architect Antoni Gaud\u00ed, although it alludes to his origins. Based on audiovisual documents and brief texts, the video projection is a journey through the most important elements of Gaud\u00ed’s work, seeking the foundations inherent in creation. Jordi Abell\u00f3 explains that “the journey is a metaphor for the creation of art: thought, the study of nature, introspection, the importance of light, and the devastation of man to achieve art in the service of power.” The exhibition allows one to place oneself at the embryo of creation and see how creation begins at this point. The relationships between the different videos should also provoke new associations among viewers. <\/p>\n
The videos exhibited in Reus are:<\/p>\n
1- \u201cGaud\u00ed’s Table\u201d (2005). It recreates the architect’s table (a replica of the one in the Sagrada Familia workshop) and the objects it contained, and how a child approaches it and explores its contents. <\/p>\n
2- \u201cWhere La Pedrera Comes From\u201d (2005). An audiovisual that demonstrates that art is carried within. Gaud\u00ed suffered from osteoporosis, and contemporary images of this disease demonstrate that Gaud\u00ed’s Pedrera was already in his bones when he designed it. <\/p>\n
3- \u201cThe New History of Art\u201d (2011). The video links art and power. His main patron trafficked in slaves and exploited workers and minors. Gaud\u00ed knew this and built his work despite this suffering, disregarding the personal consequences. His source of funding is not without controversy. Is it legitimate for art to cleanse consciences? Does art truly justify everything? Does art kill? These are questions to consider when approaching Gaud\u00ed’s art, according to Jordi Abell\u00f3. <\/p>\n
4- \u201cSaturn\u201d (2012). A video that uncovers the brilliant architect’s brain and the image it contains. Melancholy is one of the feelings that provokes creation and is under the influence of the planet Saturn. <\/p>\n
@abellovilella #gaud\u00edriudoms
\n http:\/\/www.facebook.com\/jordi.abellovilella<\/a><\/p>\n
www.jordiabello.com<\/a>
\n#gaud\u00edriudoms<\/p>\n
Abell\u00f3 imagines that Gaud\u00ed’s brain conceived images under the same influence.<\/p>\n
5- \u201cGeometer\u201d (2012). It is an unreleased audiovisual that highlights his being a geometer, understood as synthetic. Jordi Abell\u00f3 starts from the study sheets of his time and imagines how he sought form through concentric movement, contrary to the movement of clock hands (a movement that, incidentally, recalls that of the human genome helix). <\/p>\n
6- \u201cLight Paints\u201d (2012). It is also a work created specifically for the exhibition. Gaud\u00ed believed that the light in Camp de Tarragona had an amplitude of 45\u00ba and asserted that it was ideal for seeing things clearly. In this audiovisual, Jordi Abell\u00f3 shows how this light paints on the surrounding walls. <\/p>\n
The production of the videos was carried out by La Ferida, while the texts are the work of M\u00e0rius Domingo.<\/p>\n
Closing event with a visit to Mas de la Calderera<\/p>\n
The exhibition premiered at the Centre d\u2019Estudis Riudomencs in Riudoms last December, and on January 27th, as a closing event, a guided visit to Mas de la Calderera with the artist Jordi Abell\u00f3 will take place. The departure is scheduled for 11:30 AM at the Church of Riudoms and costs one euro for adults and is free for children. The artist and attendees will conduct a collective search for latent elements at the Riudoms farmhouse that demonstrate Gaud\u00ed was inspired by his place of origin. For more information http:\/\/cerap.cat\/agenda02.php?recordID=130&opcio=04<\/a>. <\/p>\n
For further details, please contact Jordi Abell\u00f3 at 616 53 68 20.<\/p>\n
@abellovilella #gaud\u00edriudoms
\n http:\/\/www.facebook.com\/jordi.abellovilella<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"
Often, proposals related to the plastic arts prove to be closer to literary essays or research theses than to strict […]<\/p>\n","protected":false},"author":1,"featured_media":2483,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[107],"tags":[150],"class_list":["post-2482","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-zebra-crossing","tag-a-thesis-by-jordi-abell-reveals-gaudi"],"_links":{"self":[{"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/posts\/2482","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/comments?post=2482"}],"version-history":[{"count":0,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/posts\/2482\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/media\/2483"}],"wp:attachment":[{"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/media?parent=2482"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/categories?post=2482"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/tags?post=2482"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}