David Rodríguez Caballero by Marlborough Gallery

DAVID RODRÍGUEZ CABALLERO

DAVID RODRÍGUEZ CABALLERO Recent Work

SEPTEMBER 16 - OCTOBER 18, 2014

4 0 W E S T 57 T H S T R E E T N E W YO R K , N E W YO R K 1 0 0 1 9 212-541-4900 M A R L B O R O U G H G A L L E R Y.C O M

29.mayo.2014, 2014, stainless steel, 137 3/4 x 110 1/4 x 39 3/8 in., 350 x 280 x 100 cm

DAV I D R O D R Í G U E Z C A B A L L E R O : T H E R E V E R I E O F M E TA L S KOS M E D E BA R A Ñ A N O

That was happiness: drawing figures senselessly in glitter. -Jorge Teiller

The constructions of David Rodríguez Caballero are articulated in space, questioning it by two of its principles: the combination of formal geometric elements and experiments with texture, and the significance of light. These are very mental, very constructed works that carry a strong impact in the field of sensations. There are about 40 works in this exhibition—all of them have been created over the past three years, ever since the artist leapt to large format sculptures in 2011. Those small aluminum walls, those mirrors of scratched gesture between Paul Klee and Cy Twombly, that began as painting, eventually needed and reclaimed the public space, that is to say, becoming monumental sculpture. Here and now we have the aluminum reliefs (be it butterflies, totems, masks, or triptychs) along with a very recent series of works of unraveling curves constructed or emplaced as Marañas (Tangles), as Clutters or Jungles (these last ones are stainless steel). These constructions—some are welded and some are hooked—are hung from the masts and vibrate to the subtlest movements. Their intention, however, is very different from the aesthetic of George Rickey. Some works have added color in baked enamel paint; Rodríguez Caballero attempts to reconcile the minimal with individual expression, poetic with frigidity. In his work there is a type of indignation against the formal miseralbilism that hopes to surpass the functionality of an object, lending a hand, a gesture of poetic reverie or poetic illumination. The sculptures and reliefs of Rodríguez Caballero have developed through the appropriation and re-articulation of different tendencies of minimal and constructivist abstraction, even the sharp-edged abstraction of Ellsworth Kelly, without ever losing the poetic sensation, the cleanliness and the fragility, the enthrallment of the mirror and the delicacy that metal can have. The gesture and color, the subtle finish, speak of a poetic of silence like that of Agnes Martin, and a poetic of the fold like that of Dorothea Rockburne. The sculpture of Rodríguez Caballero is a sculpture of compositional equilibrium (of folds); at the same time it is a tactile sculpture that is complicit with the material. In many ways, the gestures in aluminum, in brass or in copper, encourage the viewers to walk around the work in order to see the infinite variations produced by the light, the texture—by a hand that sweeps and draws light from within the material. It is a sculpture of fusion: equilibrium with tension; the structure with elegance and asymmetry. These are sculptures of folded, creased, or superimposed metal that could be read as a paradox of gravity and movement. The last works, the most monumental and complex, which we can call Marañas, present a sensation of lagging planes in the ensemble of forms. Anchored in the various masts, these curved shapes are installed as flags without symbolism. A magnetic force circulates through the interspaces of the aluminum curves, their points of encounter and their voids. There is an infinite variation of movements in those spaces of crossed perspectives that act in accordance to the movements below. Before them,

as before a flag, there is only space for a contemplative attitude towards those variations in space, encounters, voids and tensions. In this sense, these sculptural works transform themselves into architecture, reminding us of the work of Francesco Marino di Teana: “Chaque sculpture s’impose comme une vaste propositions architecturale.”1 If the Italian, who lived in Paris, approached space as living reality to be subjected to a dialogue—characterized by his total exposure (economy in elements and purity of line)—Rodríguez Caballero then looks for his own continuous energy in these structures. Di Teana generally based his constructions in two corporeal shapes that flanked a space, that which he called the third “matter”, the “matter within the void”… dynamic space that counts as much as its two halves: 1 + 1 = 3. For him, sculpture, or the relation between sculpture and its environment, was made of matter and space. Rodríguez Caballero introduces, in the sense of sculptural structure as a building, the sense of light and folds. This was already part of his early paper works in the year 2000, by way of his vinyl collages and his origamis: the contraction of space and time in the sense of the fold, in its baroque rotundity—that is to say, in an artificially constructed world that changes thoughts and transfers the real and existing world to a new dimension. Formal simplicity, le dépouillement of di Teana, the exposure of the metal is seen by Rodríguez Caballero in its simplicity, yet through a search of sensibility and the richness of light upon it, or within it. The artist remembers that the fourth proclamation of the Futurist Manifesto tecnico of 1910 stated: “il moto e la luce distruggono a la materialità dei corpi.”2 Just as he remembers that Boccioni, Varra, Balla, Russolo and Severini signed the manifesto by proclaiming themselves, “Signori della luce.”3 The plastic symphony generated by these Marañas essentially tends to rhythms and the value of volumes of an elevated space, as clouds of reverie. They are geometric metaphors in space. The sculpture of Rodríguez Caballero is a reflection on the constellating strength of elements and the serenity of intangible space through technical perfection. The artist constructs his wall sculptures and his exempt sculptures parting from a concept of minimalism, yet always looking for the presence of the author, the finish, the softness of the lesion on a metal that is illumined and revived as poetic support.

1 Each sculpture imposes itself as a vast architectural proposition. 2 Motion and light destroy the materiality of bodies. 3 Lords of light

P RO F E S S O R D R . KO S M E D E B A R A Ñ A N O is a Full Tenured Professor at the Academy of Fine Arts in Altea, Spain. He was a Professor at the University of Basque Country (Bilbao) and in Heidelberg, Germany. He was Deputy Director of the Museo Nacional Reina Sofía, Madrid, Spain and Executive Director of the Museum IVAM (Instituto Valdenciano de Arte Moderno), in Valencia, Spain.

31.marzo.2014, 2014, enamel on aluminum, 39 x 46 7/8 x 3 1/8 in., 99 x 119 x 8 cm 5

03.julio.2013, 2013, enamel on aluminum, triptych, 32 1/4 x 137 3/4 x 30 1/2 in., 82 x 350 x 77.5 cm 7

05.marzo.2014, 2014, copper, 37 3/4 x 19 7/8 x 18 7/8 in., 96 x 50.5 x 48 cm 8

04.febrero.2014, 2014, brass, 43 1/4 x 24 3/8 x 16 1/2 in., 110.5 x 62 x 42 cm 9

27.abril.2013, 2013, enamel on brass, 78 3/4 x 13 3/4 x 7 1/8 in., 200 x 35 x 18 cm 10

10.junio.2014, 2014, enamel on brass, triptych, 59 x 55 1/8 x 11 3/8 in., 150 x 140 x 29 cm 11

15.marzo.2013, 2013, aluminum, 96 1/2x 21 5/8 x 19 5/8 in., 245 x 55 x 50 cm

12.mayo.2014, 2014, brass, 78 x 30 3/4 x 19 5/8 in., 198 x 78 x 50 cm

25.marzo.2014, 2014, enamel on aluminum, 42 1/4 x 49 5/8 x 9 1/2 in., 108 x 126 x 24 cm 14

28.marzo.2014, 2014, medium, enamel on aluminum, 37 3/4 x 39 3/8 x 12 in., 96 x 100 x 30.5 cm 15

11.marzo.2013 2013, aluminum, 76 3/4 x 58 5/8 x 43 1/4 in., 195 x 149 x 110 cm

13.junio.2014, 2014, aluminum, 100 3/8 x 19 1/4 x 16 3/4 in., 255 x 49 x 42.5 cm

02.marzo.2014, 2014, brass, 36 1/4 x 18 7/8 x 19 5/8 in., 92 x 48 x 50 cm 18

15.abril.2014, 2014, copper, 23 5/8 x 34 5/8 x 20 1/8 in., 60 x 88 x 51 cm 19

18.diciembre.2012, 2012, enamel on aluminum, 74 3/4 x 38 5/8 x 3 7/8 in., 190 x 98 x 10 cm 20

26.marzo.2014, 2014, enamel on aluminum, 41 x 31 1/2 x 11 3/8 in., 104 x 80 x 29 cm 21

02.junio.2014, 2014, stainless steel, 208 5/8 x 137 3/4 x 78 3/4 in., 530 x 350 x 200 cm 22

06.junio.2014, 2014, stainless steel, 271 5/8 x 157 1/2 x 98 3/8 in., 690 x 400 x 250 cm 23

22.febrero.2014, 2014, brass, 37 3/8 x 69 1/4 x 18 1/2 in., 95 x 176 x 47 cm 24

15.febrero.2014, 2014, brass, 38 5/8 x 60 5/8 x 13 3/8 in., 98 x 154 x 34 cm 25

18.marzo.2014, 2014, enamel on aluminum, 18 7/8 x 18 7/8 x 6 1/4 in., 48 x 48 x 16 cm 26

19.mayo.2014, 2014, enamel on aluminum, 38 1/4 x 38 1/4 x 17 1/2 in., 97 x 97 x 44.5 cm 27

DAVID RODRÍGUEZ CABALLERO 1970 Born in Pamplona, Spain

2006 Obra reciente, Galería Marlborough, Madrid, Spain

1995 BFA, Universidad del País Vasco, Bizkaia, Spain

1998 MA, Universidad Complutense de Madrid, Madrid, Spain

Cinco maneras, Sala de Polvorín, Ciudadela, Ayuntamiento de Pamplona, Spain, Pamplona, Spain

2004 Origamis, Gobierno de Valencia, Valencia, Spain The artist lives and works in Madrid, Spain and New York, New York.

2003 Color Elefante, Valencia, Spain

SELECTED AWARDS AND RESIDENCIES

2002 Davíd Rodriguez Caballero, Galería Agurtxo Iruretagoyena, Pamplona, Spain 2001 Galería Dieciséis, San Sebastián, Spain

2008 1st International Print Award, Bodegas Dinastía Vivanco, Rioja, Spain

2000 Sala de Polvorín, Ciudadela, Ayuntamiento de Pamplona, Pamplona, Spain

2006 1st Prize of the Unión Fenosa Collection, Museo de Arte Contemporáneo Union Fenosa, A Coruña, Spain

1998 Galería Dieciséis, San Sebastián, Spain

2004 1st Prize for Plastic Arts, Government of Valencia, Valencia, Spain

1994 Casa de la Juventud, Ayuntamiento de Pamplona, Pamplona, Spain

1996 Galería Pintzel, Pamplona, Spain

1999 Scholarship, The Museum of Modern Art, New York, New York 1998 Scholarship, The Solomon R. Guggenheim Museum, New York, New York

SELECTED GROUP EXHIBITIONS

1997 Creation Grant, Prince of Viana, Government of Navarre, Navarre, Spain

2013 Obra Sobre Papel: Explorando el Trazo, Marlborough Barcelona, Barcelona, Spain 2011 Powders, a Phial, and a Paper Book, Marlborough Chelsea, New York, New York

Scholarship, Museum of Modern Art, Mexico City, Mexico

Expansion of Art Studies Grant, Prince of Viana, Government of Navarre, Navarre, Spain

1996 1st Prize: Painting, Volksbank Paderborn, Paderborn, Germany

Summer Show, Marlborough Barcelona, Barcelona, Spain

Fiction and Reality: Spanish Art of the 21st Century in the Contemporary Art Collection of Museo Patio Herreriano, Valladolid, Moscow Museum of Modern Art, Moscow, Russia

De luces mixtas, Galería Marlborough, Madrid, Spain

Group Show, Marlborough Monaco, Monte Carlo, Monaco

Olor, color, química, arte y pedagogía, Arts Santa Mónica, Barcelona, Spain

Marlborough: de 1946 a 2011, Marlborough Barcelona, Barcelona, Spain

1995 1st Prize for Young Artists: Painting, Government of Pamplona, Pamplona, Spain

1st Prize, IV Certámen de Pintura Lehiaketa, Abanto-Zierbana, Spain

SELECTED SOLO EXHIBITIONS

2013 David Rodríguez Caballero Plier et Déplier, Marlborough Monaco, Monte Carlo, Monaco

2010 Welcome Home, Galería Moisés Pérez de Albéniz, Pamplona, Spain

Incisiones, Marlborough Barcelona, Barcelona, Spain

XII Bienal de Artes Plásticas “Ciudad de Pamplona”, Sala Conde Redezno, Pamplona, Spain

Descobrir, Defensar. Difondre L’Art, Arts Santa Mónica, Barcelona, Spain

Atrio. Colección artística del Parlamento de Navarra, 1979-2010, Fundación María Forcada, Tudela, Spain

Escultura, Galería Marlborough, Madrid, Spain

David Rodríguez Caballero: Luz y Geometría, Centro Del Carmen,Valencia, Spain Reflections, C-Art Gallery, Miami, Florida

2012 David Rodríguez Caballero: Desarrollos: Ongoing Pieces 2010-2012, Galería Marlborough, Madrid, Spain (through 2013)

David Rodríguez Caballero: Recent Works, Marlborough Chelsea, New York, New York

2011 Glaciers, Museo Würth, La Rioja, Spain

Los estados de la cruz: Luz y Geometría, Claustro de la Catedral de Pamplona, Pamplona, Spain

2010 Interpretaciones. Un díalogo con Jorge Oteiza, Fundación Museo Jorge Oteiza, Alzuza, Spain

Figuras. Aluminos y vinilos, Fundación María Forcada, Tudela, Spain

Geometrías, Galería Marlborough, Madrid, Spain

2009 Colectiva de invierno, Galería Marlborough, Madrid, Spain

Joyas del Arte moderno. La orfebrería de Pablo Picasso, Julio González, Eduardo Chillida, Anthony Caro, Alberto Corazón y David Rodríguez Caballero, Espacio Metropolitano de Arte de Torrent, Valencia, Spain

Galería Marlborough, Madrid, Spain

Seis Artistas Navarros Contemporáneos, Galería María Forcada, Tudela, Spain

2009 Estructura y orden, Galería Moisés Pérez de Albéniz, Pamplona, Spain

2008 Colección abierta. Adquisiciones 2005-2008, Museo de Navarra, Pamplona, Spain

Plegados, Marlborough Barcelona, Barcelona, Spain

2008 Vinilos-Grabados, Galería Marlborough, Madrid, Spain

Miradas de hoy. El arte español actual en la colección MACUF, Cervantes Institute, Warsaw, Poland 29

Colectiva Koldo Mitxelena, Guipúzcoa, Spain

La mirada transferida, Koldo Mitxelena, San Sebastián, Spain

Galería Marlborough, Madrid, Spain

SELECTED MONOGRAPHS AND CATALOGS

2011 Glaciers, La Rioja: Museo Würth.

Adquisiciones, Museo Würth, La Rioja, Spain

2010 Aluminios/Aluminiums. Tudela: Fundación María Forcada.

Geometrías/Geometries. Madrid: Galería Marlborough.

Interpretaciones. Alzuza: Fundación Museo Jorge Oteiza.

Galería Moisés Pérez de Albéniz, Pamplona, Spain

2007 When I Sleep I See Clear, Marlborough Barcelona, Barcelona, Spain

Summer Show, Marlborough Barcelona, Barcelona, Spain Silencios: 22 pintores navarros, Sala Muralla, Baluarte, Pamplona, Spain

2009 Estructura y orden/Structure and Order. Pamplona: Galería Moisés Pérez de Albéniz.

2006 Japonesismos, Gallery Moisés Pérez de Albéniz, Pamplona, Spain

Joyas del Arte moderno. La orfebrería de Pablo Picasso, Julio González, Eduardo Chillida, Anthony Caro, Alberto Corazón y David Rodríguez Caballero. Valencia: Ayuntamiento de Torrent.

Painting, Sculpture and Graphics, Galería Marlborough, Madrid, Spain

2008 La mirada transferida. San Sebastián, Diputación foral de Guipúzcoa.

IX International Exhibition, Museo de Arte Contemporáneo Union Fenosa, A Coruña, Spain

Multiculturalism: Art Without Boundaries, Government of Navarre, Sangüesa, Spain

2007 Silencios: 22 pintores navarros. Pamplona: Gobierno de Navarra.

Bonds, CCE Spanish Cultural Center, Miami, Florida

2005 Bonds, ISE Cultural Foundation, New York, New York

Open Stock: Acquisitions 2002 – 2005, Museo de Navarra, Pamplona, Spain

2003 Pamplona Biennale, Memorial Hall, Pamplona, Spain 2002 Abstract Painting in Navarre, Armory, Pamplona, Spain; traveled to Le Carré du Musée Bonnat, Bayonne, France 2001 Surfaces and Support Systems, Watts Gallery, New York, New York; traveled to: Museo de Navarra, Pamplona, Spain PUBLIC COLLECTIONS

Museo de Navarra. Colección abierta. Adquisiciones 2005-2008. Pamplona: Gobierno de Navarra, 2008. Colección de Arte Contemporáneo Unión Fenosa. MACUF.

2006 David Rodríguez Caballero, Ayuntamiento de Pamplona.

Arte sin límites. Pamplona: Pamplona: Gobierno de Navarra.

Mostra IX Internaciona Unión Fenosa. A Coruña, MACUF.

Conversaciones con Artístas Navarros: David Rodríguez Caballero y Kosme de Barañano, Pamplona: Gobierno de Navarra.

2005 Museo de Navarra: Colección Abierta. Adquisiciones 2002-2005. Pamplona: Gobierno de Navarra. 2004 Origami. David Rodríguez Caballero, catálogo editado con motivo del Premio de las Arte Plásticas Engloba. Valencia: Gobierno de Valencia. 2003 IX Bienal de Artes Plásticas Ciudad de Pamplona, Pamplona: Ayuntamiento de Pamplona.

Ayuntamiento de Pamplona, Pamplona, Spain

2002 David Rodríguez, Pamplona: Galería Agurcho Iruretagoyena.

Biblioteca Nacional, Madrid, Spain

Colección Olor Visual, Barcelona, Spain Fundación Coca-Cola Juan Manuel Sáinz de Vicuña, Contemporary Art Centre, Salamanca, Spain Foundation Volksbank, Paderborn, Germany Instituto Nacional de Estadística, Madrid, Spain ISE Cultural Foundation, New York, New York and Tokyo, Japan Museo de Arte Contemporáneo Union Fenosa, A Coruña, Spain Museo de la Cultura del Vino, Fundación Dinastía Vivanco, La Rioja, Spain Museo de Navarra, Navarre, Spain Museo Patio Herreriano, Vallladolid, Spain Museo Würth, La Rioja, Spain Palazzo dei Papi, Viterbo, Italy Parlamento de Navarra, Pamplona, Spain

Abstracciones. Pintura Navarra actual. Pamplona: Ayuntamiento de Pamplona.

2000 David Rodríguez Caballero. Pamplona: Ayuntamiento de Pamplona/ Galería Dieciséis.

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Important Works available by: Twentieth-Century European Masters; Post-War American Artists D E S I G N / Maeve O’Regan, Dan McCann P R O D U C T I O N / Dan McCann P H O T O G R A P H Y / Juan Porcell P R I N T E D I N N E W YO R K B Y P R O J E C T

02.abril.2014, 2014, brass, 43 1/4 x 21 5/8 x 19 1/4 in., 110 x 55 x 49 cm 22.julio.2013, 2013, aluminum, 122 x 32 1/8 x 102 in., 310 x 81.5 x 102 cm

DAVID RODRÍGUEZ CABALLERO Recent Work SEPTEMBER 16 - OCTOBER 18, 2014

40 WEST 57TH STREET N E W YO R K , N E W YO R K 1 0 0 1 9 212-541-4900 M A R L B O R O U G H G A L L E R Y.C O M