ABSTRACT Pedro Calapez
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ABSTRACT Pedro Calapez 2004_2008
edições MPPC
texto: Julio César Abad Vidal
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TEXT
Julio César Abad Vidal DESIGN
Artlandia TRANSLATION
David Prescott PHOTO CREDITS
Manuel Pedro Calapez José Manuel Costa Alves Javier Ayarza Susana Neves MPPC We apologize if some of the photos sources have not been listed PRINTING
Facsimile PRINT RUN
750 ISBN-978-989-20-1143-1 Legal deposit 275012/08 © edições MPPC © text: Julio César Abad Vidal Pedro Calapez thanks Adolfo Sobriño Alberto de Juan António Henriques Beatriz Horta Correia Jorge Rodrigues Julio César Abad Maria de Belém Sampaio Mário Mauroner Miguel Gaspar Miguel Nabinho Pedro Reis Gomes Ralf Seippel Alexandra e Manuel Pedro
Special thanks to Galeria Lisboa 20 Arte Contemporânea, Lisboa Galeria Presença, OPorto Galeria AH, Viseu Galeria Max Estrella, Madrid Galeria SCQ, Santiago de Compostela Mario Mauroner Contemporary Art, Viena/Salzburg Seippel Galerie, Cologne
www.calapez.com www.lisboa20.pt www.galeriapresenca.pt www.ah-arte.com www.maxestrella.com www.galeriascq.com www.galerie-mam.com www.galerie-seippel.de
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Julio César Abad Vidal
DE ABSTRACT, LA PINTURA ÚLTIMA DE PEDRO CALAPEZ
ON ABSTRACT, PEDRO CALAPEZ’S LATEST PAINTING
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Abstract Pedro Calapez (Lisboa, 1953) ocupa un prominente papel en el seno de la escena artística portuguesa contemporánea, particularmente en un campo como el pictórico en el que las grandes autoridades de su país, celebradas durante las últimas décadas internacionalmente, muestran en la actualidad signos de agotamiento. Los intereses de Pedro Calapez le han movido a lo largo de las tres décadas de su actividad artística a elaborar diferentes propuestas plásticas, pictóricas y escultóricas que participan de un sentido de instalación. Su pintura, para cuya configuración técnica y formal emplea habitualmente diversos soportes distantes, paralelepípedos realizados industrialmente, fundamentalmente de aluminio (o bien cerrado o bien hueco) -aunque ha abordado su producción en otros materiales, como la madera conglomerada (MDF) que dispone de modo reticular y presentando intersticios a diferentes alturas, se manifiesta mediante dos estrategias centrales. En primer lugar, puede señalarse en el conjunto de la obra pictórica de Calapez la presencia de series de obras que, presentadas a cierta distancia las unas de las otras, organizan composiciones de un campo de color plano sobre el que se dispone una trama de grueso contorno de un color que contrasta sensiblemente sobre el fondo. Los temas más caros a 5
Abstract Pedro Calapez (Lisbon, 1953) occupies a prominent position on the contemporary Portuguese art scene, particularly in a filed like the pictorial, in which the main authorities of his country, celebrated internationally over the last decades, are currently showing signs of exhaustion. Pedro Calapez’s interests have moved him over three decades of artistic activity to draw up different plastic, pictorial and sculptural proposals that participate in a sense of installation. His painting, towards the technical and formal configuration of which he usually employs various differing supports, industrially-made parallelepipeds, mainly of aluminium (either very compact or very hollow) – although he has approached his production through other materials, such as MDF which he lays out in a reticular manner with gaps at different points – is revealed through two central strategies. In the first place, in Calapez’s pictorial work one may point out the presence of works that when presented as a certain distance from each other form compositions of a plane colour field on which there is a band with a thick outline of one colour that markedly stands out from the background. The subjects most dear to this practice are landscapes and architectures, in both cases stripped of human and animal figures. If the contrast between background
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esta práctica los constituyen los paisajes y las arquitecturas, en ambos casos, desprovistos de figuras humanas y animales. Si el contraste entre fondo y línea es contundente, la lectura de los objetos no resulta, en muchas ocasiones, y como cabría esperar, nítida. La trama que podría ser denominada como dibujo se ofrece farragosa, se manifiesta en meandros, con un manifiesto horror vacui que ha conducido al autor a duplicar los contornos, como en una visión doble, o a simultanear imágenes, como si se tratara de un palimpsesto en el que se hace difícil discernir qué parte es la tachada y cuál la última en ser mostrada, cuál estaba originalmente allí y aquélla que ha querido eliminarla. En un segundo grupo de trabajos, Calapez procede a la elaboración de obras de carácter no figurativo mediante amplios campos de color que se relacionan lúbricamente. Es precisamente de esta producción de la que se ocupa el presente libro y, en particular, de la obra desarrollada por Pedro Calapez desde 2004 hasta la actualidad (comienzos de 2008). Existe en la obra pictórica de Calapez un hondo sentido terrenal: su pintura es aplicada de modo denso, espeso, estratificado. Su referencia fundamental se dirige al paisaje y finalmente, su obra última cobra un sentido geográfico, tanto en un significado físico, a través de una configuración que le relaciona con las placas tectónicas terrestres, como en una acepción política, mediante una apariencia que puede asemejarse a la de banderas ondeantes. 6
and line is striking, the reading of the objects is often not clear, as one might expect. The band that might be called a drawing is involved and meandering, with an evident horror vacui that has led the painter to double the outlines, like in dual vision, or to simultaneously place objects, as if this were a palimpsest in which it becomes difficult to discern which part is the crossing out and which is the last one being shown, which was originally there and which one intended to eliminate it. In a second group of works, Calapez proceeds to the creating of works with a non-figurative character through broad colour fields that relate to each other smoothly. The present book deals precisely with this production, and in particular the work Pedro Calapez has carried out from 2004 until today (early 2008). There is a deep worldly sense in Calapez’s pictorial work: his painting is applied densely, thickly and in strata. Its fundamental reference is directed to language, and, finally, his latest work possesses a geographical sense, both in a physical meaning, through a configuration that relates it to the Earth’s tectonic plates, and in a political sense, through an appearance that may be similar to that of fluttering flags.
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“Abstract” Pedro Calapez ha bautizado a este proyecto editorial con un vocablo inglés, “abstract”, que presenta diferentes acepciones. En primer lugar, en el contexto artístico, “abstract” (abstracto, abstracta) es un adjetivo calificativo que sirve para designar las obras plásticas que no pretenden una representación, por libre, sintética o estilizada que sea ésta, de un fenómeno, sujeto u objeto de la realidad, ya sea natural o artificial. En segundo lugar, “abstract” es un sustantivo que podría ser traducido como “resumen”, o más apropiadamente, “extracto”, y que en las publicaciones académicas precede a los artículos o ensayos de investigación como avance de sus contenidos. Así, es práctica frecuente, para facilitar su presencia en publicaciones internacionales, que los artículos se hallen encabezados por un “abstract” en lengua inglesa independientemente del idioma en que esté redactado. En este sentido, por ejemplo, ha sido empleado anteriormente, de un modo que podría compartir el gusto de Calapez por el bucle, por el rizo, cuya presencia caracteriza buena parte de su obra de madurez. Pero “abstract” presenta aún una significación particularmente afín a los valores pictóricos de su personal propuesta creativa. Pedro Calapez pinta sus paisajes en un extenso taller lisboeta que, pese a su luminosidad, carece de hermosas 7
“Abstract” Pedro Calapez has baptised this editorial project with an English word, “abstract”, which has several meanings. Firstly, in the artistic context, “abstract” is a qualitative adjective that serves to designate plastic works that do not intend to represent, no matter how free, synthetic or stylised it might be, a phenomenon, subject or object of reality, whether natural or artificial. Secondly, “abstract” is a noun meaning “summary”, or, more correctly, “extract”, which in academic publications precedes articles or research essays presenting their contents in advance. Thus it is common for articles to be headed by an abstract in English, independently of the language of the text, in order to facilitate their presence in international publications. In this sense, for example, it has been used in advance so one may share Calapez’s liking for the bend and the ripple, the presence of which characterise a good part of his mature work. But “abstract” also presents a meaning that is particularly fitting to the pictorial values of his personal creative proposal. Pedro Calapez paints his landscapes in a large Lisbon studio which, despite its light, lacks beautiful views. His particular landscape attitude in no way involves an outdoor practice, but the opposite, it is the work of
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vistas. En modo alguno su particular glosa paisajística se trata de una práctica al aire libre (plein air), sino por el contrario, la obra de un creador que se abstrae (en lengua española este verbo se aplica fundamentalmente a los lectores y a los que escuchan música, en ambos casos, muy concretados, y a quienes admiran un paisaje), de un abstraído. De un ensimismado creador que goza del placer del tacto en su aplicación de los pigmentos. De una pintura que remite inequívocamente a la visibilidad y que, por obra de la aplicación untada de la misma materia pictórica apela incluso al sentido del gusto, al apetito, en su evocación, por ejemplo, de los bizcochos que dan fin a las celebraciones familiares. De Abstract En su producción pictórica última, Pedro Calapez, y de ello nos ocuparemos en el presente análisis, ha investigado nuevos soportes o distintas vías de disponer estos mismos módulos. A la presencia de paralelepípedos regulares compactos que le ocupó intensivamente desde finales de la década de los noventa del pasado siglo, Calapez ha incorporado diversas soluciones técnicas. Quizá la más destacada, si bien no la única, sea la aparición de planchas de aluminio que presentan tres caras visibles, una frontal (y única que recibe tratamiento pictórico) y dos laterales. 8
a creator who abstracts himself (in general this verb is fundamentally applied to readers and to those who listen to music, both of whom concentrate deeply, and to those who are admiring a landscape), of someone who is abstracted. Of an engrossed creator who enjoys the pleasure of touch in his application of the pigments. Of a painting that unequivocally refers to visibility, and which through the smeared application of the pictorial material also appeals to the sense of taste, and to the appetite in its evoking, for example, of the cookies that come at the end of family celebrations. On Abstract In his latest pictorial production, Pedro Calapez – and it is of him that we will deal in the present analysis – has investigated into new supports or different ways of setting out these same modules. Calapez has incorporated several different technical solutions to the presence of the regular compact parallelepipeds that have intensively occupied him since the end of the nineteen nineties. Perhaps the solution that most stands out, if not the only one, is that of the appearance of aluminium plaques that have three visible face, a front one (and the only one
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En todos los casos, estas caras laterales, mediante las cuales la pintura se une a la pared, son planas. Sin embargo, la altura, el relieve, de la capa pictórica respecto a la pared varía en las diferentes planchas de aluminio que Calapez emplea. Y esta solución hueca ha permitido a Calapez conseguir dos efectos inéditos en su trabajo anterior. Por su carácter más liviano, la profundidad o resalto ha adquirido un mayor protagonismo al aumentarse sensiblemente. De hecho, en una obra que quizá dé inicio en algún momento a una serie de trabajos, pero hasta el momento única, HS 02 (2007, acrílico sobre dos planchas de aluminio, 80 x 76,5 x 36 cm; de hecho, HS significa “sin serie” del francés hors, “sin”, como ocurre en la expresión presente en algunos ejemplares de obra gráfica hors de commerce, “fuera de comercio”), Calapez ha introducido la parte inferior de una plancha (de 20,5 cm de profundidad) en la parte superior de una nueva plancha (de 36 cm de profundidad) dispuesta bajo ella. Por otra parte, el carácter liso de las caras laterales ha permitido que éstas reflejen los módulos circundantes, por lo que la experiencia sensorial del espectador se enriquece si evoluciona éste frente o al lado de estos conjuntos, contrariamente a lo que ocurre a causa de la univocidad de la percepción pictórica tradicional. Del mismo modo, el irregular resalto de las diferentes partes que componen los polípticos pictóricos de Calapez consigue un efecto 9
that receives pictorial treatment) and two side faces. In all the cases these side faces, through which the painting is joined to the wall, are flat. However, the height and the relief of the pictorial cover in relation to the wall vary in the different aluminium plaques that Calapez uses. And this hollow solution has allowed Calapez to achieve two effects that never appeared in his previous work. Due to its lighter character, the depth or projection has taken on greater protagonism in being notably increased. Indeed, in a work that may perhaps at any moment start off a series of works, but which is a single piece for now, HS 02 (2007, acrylic on two aluminium plaques, 80 x 76.5 x 36 cm; indeed, HS means “without a series” from the French hors, “without”, as in the expression in some examples of graphic works hors de commerce, “outside the trade”), Calapez has introduced the lower part of a plaque (20.5 cm in depth) into the upper part of a new plaque (36 cm in depth) laid out beneath it. On the other hand, the smooth nature of the side faces has allowed them to reflect the adjacent modules, so the spectator’s sensorial experience is enriched if he stands in front or to the side of these works, unlike what happens in the case of the univocal nature of traditional pictorial perception. Equally, the irregular projection of the different parts that make up Calapez’s pictorial polyptychs achieves a destabilising effect on the spectator.
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desestabilizador en el espectador. Y esto ocurre más notoriamente en aquellas obras cuya disposición sobre la pared resulta simétrica, pues el hecho de no presentar su capa frontal, y por tanto, la capa pictórica, una altura idéntica, provoca que su percepción resulte asimétrica. Las pinturas realizadas recientemente por Pedro Calapez carecen habitualmente de un título narrativo. En contadas excepciones Calapez se refiere a ellas, como en dos obras excelsas, como a “sombras”, como a “humo”, lo que incide en el carácter etéreo, volátil o difuso de una pintura, paradójicamente, innegablemente física. Así ocurre en Fumos verdes (2006, acrílico sobre siete paneles de aluminio, 106,5 x 216 x 25,5 cm), enteramente desarrollada con pigmento acrílico verde oscuro y negro, o Sombras vermelhas (2007, acrílico sobre siete paneles de aluminio, 92 x 243,5 x 36 cm) muy similar en su reducción cromática salvo por la sustitución, como su nombre indica, del verde por el rojo (vermelho). En la mayoría de los casos, las pinturas reciben una numeración por series, aunque para los títulos de éstas Calapez se sirva, en ocasiones, de abreviaturas o siglas, lo que confiere un carácter un tanto críptico a sus denominaciones, pues algunas de ellas resultan difíciles de identificar. 10
And this takes place most strikingly in those works which are laid out symmetrically on the wall, as the fact of not presenting their front side, and therefore the painted side, at an identical height makes their perception become asymmetric. The paintings produced recently by Pedro Calapez usually have no narrative title. In a few exceptions Calapez refers to them, as two sublime works, as “shadows”, as “smoke”, which has to do with the ethereal, volatile or diffuse nature of a painting that is, paradoxically, undeniably physical. This is the case in Fumos verdes [Green Smoke] (2006, acrylic on seven aluminium panels, 106.5 x 216 x 25.5 cm), totally developed with dark green and black acrylic pigment, or Sombras vermelhas [Red Shadows] (2007, acrylic on seven aluminium panels, 92 x 243.5 x 36 cm) very similar in its chromatic reduction except for the replacement, as its name indicates, of green by red. In most cases the paintings receive a numeration by series, although for the titles of these works Calapez on occasion uses abbreviations or acronyms, which grants their denominations a somewhat cryptic character, as some of them are difficult to identify.
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“Composición” es el título de una serie abierta en 2004. Se caracteriza por una preocupación espacial del conjunto por establecer figuras geométricas (casos de los números 1, un trapecio cuya base mayor sería el margen izquierdo de los módulos, y la base menor el margen derecho, o el número 5, inscribible idealmente en una circunferencia), por una sólida geometría, en el registro horizontal único del número 4, o del mismo modo, pero en vertical en el número 5 o bien por formas más complejas y caprichosas, como los números 2 y 3. Otros miembros de la serie, como los números 6, 8, 9, 10 u 11 participan de un mismo recurso: encontrarse alineados en el margen izquierdo. Una característica que presentan otras obras de Calapez de diferentes series, como diferentes miembros de la serie “Vertical” y o de la serie “Totem”. Cada una de las pinturas que constituyen la serie “Vertical”, comenzada en 2005, constituye un políptico cuyos módulos se ordenan en paralelo, como en la práctica totalidad de la obra de Calapez, pero cada fila está constituida, únicamente por un elemento. Asimismo, el conjunto se ordena, o bien en su integridad respetando un mismo margen, o bien compartiendo el margen derecho y el izquierdo en las filas consecutivas. Así, por ejemplo, el primer (en orden del más alto al más bajo) y el segundo elemento de los seis que integran VAR 06 (y VAR 07 que repite tanto la 11
“Composición” is the title of a series started in 2004. It is characterized by a spatial concern by the set for establishing geometrical figures (cases of the numbers 1, a trapezium of which the larger base would be the left edge of the modules, and the smaller base the right side, or number 5, ideally inscribable in a circumference), by a solid geometry, on the unique horizontal register of the number 4, or in the same way, but vertically in the number 5 or rather by more complex and whimsical forms, like the numbers 2 and 3. Other members of the series, like numbers 6, 8, 9, 10 or 11 participate in the same resource: becoming lined up on the left side. A characteristic presented by these works by Calapez from different series, as different members of the “Vertical” series and that of the “Totem” series. Each of the paintings that make up the “Vertical” series, started in 2005, constitutes a polyptych whose modules are ordered in parallel, as is all of Calapez’s work in practice, but each row is made up of only one element. Likewise, the set is ordered, either in its entirety respecting one single margin, or sharing the same right and left margins in the consecutive rows. Thus, for example, the first (from the highest to the lowest) and the second element of the six that make up VAR 06 (and VAR 07 which repeats both the layout and the size of each of the
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disposición como el tamaño de cada uno de los módulos, siendo ambos trabajos de 2007) se alinean por el margen izquierdo, pero el margen derecho de la segunda marcará una alienación con los elementos tercero y cuarto. El quinto y el sexto, por último, comparten con el cuarto el margen izquierdo. Esta solución zigzagueante produce con rotundidad el ritmo visual que persigue en numerosas ocasiones la propuesta plástica fragmentada de Calapez, lo que podría remitir la obra de Calapez a otra particular sinergia (ya se mencionó el tacto, por la pastosidad de sus superficie, y del gusto, por este mismo motivo y su relación con el recuerdo infantil de los postres caseros): en este caso, con el sentido del oído. Una estricta ordenación geométrica confiere a una serie de obras (comenzada en 2007) de una mayor gravedad, una presencia física sólida muy acorde con su título “Totem” (tótem), representaciones de deidades zoomórficas protectoras talladas por la población indígena de Norteamérica en un tronco, lo que confiere a cada uno de estos objetos rituales una marcada verticalidad así como una disposición figurada en registros horizontales paralelos. Salvo uno de los cuatro primeros miembros de esta serie de Calapez, el resto puede inscribirse en un rectángulo. Cada una de sus hileras se compone verticalmente de dos piezas. En los números 1 y 4 son iguales dos a dos de modo inverso en los registros 12
modules, with both works being from 2007) are lined up along the left margin, but the right margin of the second work will mark out an alienation towards the third and fourth elements. The fifth and the sixth, finally, share the left margin with the fourth. This zigzag solution clearly produces the visual rhythm that Calapez’s fragmented plastic proposal follows on many occasions, which could refer his work to another particular synergy (touch has already been mentioned in relation to the pasty nature of his surfaces, and taste, for the same reason, and its relationship with the childhood memory of home-baked cookies): in this case with that of the sense of hearing. A strict geometric order grants a series of works (started in 2007) a greater gravity, a solid physical presence that is in line with its title, “Totem”, representations of zoomorphic protective deities carved out by the indigenous peoples of north America on a tree trunk, which grants each of these ritual objects a marked vitality as well as a layout figured over parallel horizontal registers. Except for one of the four first members of this series by Calapez, the rest could be inscribed in a rectangle. Each one of its rows is vertically made up of two pieces. In numbers 1 and 4 they are the same two by two in a reverse manner in the registers immediately before and below each of them. Number 3 is visibly even more solid due to the fact that all the pieces in the left column are equal to each
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inmediatamente anterior e inferior a cada uno de ellos. El número 3 resulta visiblemente aún más macizo por el hecho de que todas las piezas de la columna izquierda son iguales entre sí, como ocurre con las de la columna derecha (éstas de mayor anchura que aquéllas). Únicamente el número 2 carece de esta configuración geométrica, para presentar el ritmo visual de ordenación zigzagueante del que se ha hablado en torno a la serie “Vertical”. En la serie INC (de “incompleto”), Calapez establece un juego visual con el espectador que, o bien descubre una falta en el conjunto, enseñado ya a mirar los fragmentos como totalidades, o bien echa de menos algún panel que otorgue a la totalidad pictórica una configuración global inscribible en una figura geométrica rectangular o cuanto menos, simétrica, como ocurre en la mayoritaria proporción de las obras de Calapez. Pero algunos de los títulos de las series pictóricas últimas de Calapez no resultan tan inequívocos para el espectador medio. Así, en la serie “RW” (de “rewind”), Calapez procede a la recuperación de algunas obras anteriores a las que somete a revisión, a un nuevo visionado. En la serie “MOD”, Calapez, quien consagró su formación inicial a la ingeniería, ha recurrido a la razón “Modulor” (neologismo surgido de la unión de los términos module y section d’or) establecida por Le Corbusier en sus dos ensayos homónimos, mediante la que pretendía la vindicación de un nuevo Humanismo 13
other, as is the case with those of the right column (the latter are wider than the former). Only number 2 does not have this geometric configuration, in order to represent the visual rhythm of a zigzag order which we mentioned in relation the “Vertical” series. In the series INC (as in “incomplete”), Calapez establishes a visual game with the spectator, who either discovers a fault in the set, having been taught to see fragments as wholes, or he feels the absence of a panel that might grant the pictorial whole with an overall configuration that can be inscribed in a rectangular, or at least symmetrical, geometrical figure, as is the case in most of Calapez’s works. But some of the titles in Calapez’s latest pictorial series are not so unequivocal for the average spectator. Indeed, in the series “RW” (as in “rewind”), Calapez recovers some previous works which he here subjects to a revision, to a new inspection. In the “MOD” series, Calapez, who consecrated his initial training to engineering, has turned to the term “Modulor” (a neologism made from the uniting of the terms module and section d’or) established by Le Corbusier in his two essays of the same name, through which he intended to vindicate a new humanism and the recovery of classical architectural literature that pursues, through the application of the “golden section” or
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y la recuperación de la literatura arquitectónica clásica que persigue, mediante la aplicación de la “sección áurea” o “divina proporción” la relación ordenada de las proporciones del hombre y la arquitectura con la Naturaleza, y que es considerada como la proporción perfecta entre los lados mayores y menores de un rectángulo. Es en este sentido, que Calapez realiza distintas divisiones de planchas cuadradas de aluminio de un metro de lado como soporte de sus polípticos. El conocedor de la obra de Calapez puede descubrir dentro de su reciente producción una serie de obras que, compartiendo la dicción personal del artista, resulta novedosa en la articulación de su procedimiento. Las composiciones de múltiples módulos que caracterizan la obra madura de Calapez, y particularmente aquéllas que presentan una configuración global simétrica han podido siempre ser experimentadas por quien las contemplan con el deseo de encajar idealmente sus partes. Sin embargo, Calapez no había logrado hasta muy recientemente que esta voluntad de encajar las piezas se impusiera casi preceptivamente, de modo urgente, en quien se abstrae en su disfrute. Las diferentes partes que componen estos polípticos remiten así a la vocación de unidad e integridad que experimentó, por ejemplo, el geólogo Alfred Wegener en el estudio de la geografía, cuyos planteamientos fundaron su teoría de 14
the “divine proportion”, the ordered relationship of the proportions of man and architecture with nature, and which is considered to be the perfect proportion between the greater and smaller sides of a rectangle. It is in this sense that Calapez carries out different divisions of one-metre square aluminium plaques as a support for his polyptychs. Anyone who knows Calapez’s work can discover in his recent production a series of works that, sharing the artist’s personal diction, is novel in the articulation of its procedure. The compositions of multiple modules that characterise Calapez’s mature work, and particularly those that present an overall symmetrical configuration, have always been able to be experienced by those who contemplate them with a desire to ideally match up their parts. Nevertheless, until very recently Calapez had not managed to make this will to fit the pieces together stand out almost obligatorily, in an urgent manner, in those who are abstracted in their enjoyment. Hence the different parts that make up these polyptychs refer to the vocation of unity and integrity that was felt, for example, by the geologist Alfred Wegener in his geography studio, the study of which founded his theory of continental drift, the origin of plate tectonics (from the Greek Tekton, “that which builds”), according to which
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la deriva continental, origen de la tectónica (del griego Tekton, “el que construye”) de placas, según la cual, las placas continentales que conforman la capa superior de la tierra (Litosfera) estuvieron en un pasado remoto unidas en un bloque compacto (Pangea). En la mayoría de las ocasiones, en la obra de Calapez los bordes de las placas o módulos no presentan la irregularidad erosionada de los siglos y podrían encajar perfectamente en una recomposición de la matriz (una plancha maciza de aluminio) original, pero algunas de sus obras más recientes han llegado a presentar filos recortados más caprichosamente, menos geométricos y más próximos a lo que ocurre cuando se fragmenta un bloque de piedra o como aparecen los bordes de la superficie terrestre. Acompaña a esta nueva configuración una presencia cromática más rígida, cortante, menos sinuosa o contaminada. Algo que empleando una terminología musical podría caracterizarse como stacatto, articulación cortada de los sonidos, sin la ligazón o legatto, esa contaminación fluida de los pigmentos que ha caracterizado a la mayor parte, y ciertamente al origen, de la producción pictórica madura de Calapez. Es como si el elemento lúbrico, líquido, del que antes gozaba la aplicación del pigmento se hubiera desplazado a la superficie, por vez primera de contornos curvos y no sólidamente geométricos (cuadrangulares o rectangulares) que centraban la obra pictórica de Calapez hasta el momento. 15
the continental plates that form the upper layer of the earth (Lithosphere) were in the remote past united in a compact block (Pangaea). On most occasions in Calapez’s work the edges of the plaques or modules doe not have the eroded irregularity of the centuries, and may perfectly fit into the recomposing of the original matrix (a massive plaque of aluminium), but some of his most recent works have presented more whimsically set out rows, less geometrical and closer to what happens when one smashes a block of stone or the way the edges of the earth’s surface appear. Accompanying this new configuration there is a more rigid and cutting chromatic presence, one less sinuous or contaminated. Something that, to use musical terminology, could be characterized as stacatto, a cut-up articulation of sounds, without connection or legatto, that fluid contamination of the pigments that has characterized most of, and certainly the origin of, Calapez’s mature pictorial production. It is as if the smooth, liquid element that the previously possessed had been transferred to the surface, for the first time with curved and not solidly geometrical (quadrangular or rectangular) outlines that has centred Calapez’s pictorial work up until now. Calapez is motivated by a constant restudying of his production. Thus, for example, he forced the threedimensional nature of his paintings into acrylic on aluminium parallelepipeds in order to form, since 2002,
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Calapez se encuentra motivado por un replanteamiento constante de su producción. Así, por ejemplo, ha forzado la tridimensionalidad de sus pinturas al acrílico sobre paralelepípedos de aluminio para formar, desde 2002, cubos incompletos, de cinco caras, la sexta de las cuales, la superior, ha sido convenientemente eliminada, para permitir a su contemplador la apreciación del conjunto. Algo similar ocurre en una obra sobre suelo para la que ha levantado mediante fustes visibles un conjunto de planchas de aluminio recortadas. Una obra titulada significativamente Piso Zero (2004, acrílico sobre sesenta y seis planchas de aluminio sustentadas a 30 centímetros del suelo alcanzando una superficie global de 350 x 700 cm) que ha sido, precisamente, el origen del desarrollo de la serie, y que ha sido modelo de una obra posterior, Ground 02 (2005, acrílico sobre cuarenta y tres planchas de aluminio sustentadas a 10 cm del suelo con una superficie global de 200 x 200 cm). Finalmente, Calapez se encuentra desarrollando este sistema de deriva sobre superficies verticales en polípticos muy complejos (como RW 04 (non stop), 2008, acrílico sobre cincuenta planchas de aluminio, 300 x 400 x 5 cm) en los que a la presencia, menor, de superficies pictóricas barridas en sus partes, suma la considerablemente mayor de disposiciones en bandas de perfiles definidos aunque no enteramente rectilíneos. 16
incomplete cubes with five faces, the sixth of which, the upper one, has been conveniently eliminated in order to allow the viewer to appreciate the whole set. Something similar takes place in a work on the floor for which he raised up a set of cut out aluminium plaques using visible shafts. A work significantly called Piso Zero [Floor Zero] (2004, acrylic on sixty-six aluminium plaques raised up 30 centimetres off the ground, with an overall surface area of 350 x 700 cm) which was, precisely, the origin of the development of the series, and was the model for a later work, Ground 02 (2005, acrylic on forty-three aluminium plaques raised up 10 centimetres off the ground, with an overall surface area of 200 x 200 cm). Finally, Calapez is developing this system of drift over vertical systems in very complex polyptychs (such as RW 04 (non stop), 2008, acrylic on fifty aluminium plaques, 300 x 400 x 5 cm) in which the lesser presence of partially brushed pictorial surfaces is added to by the considerably greater presence of layouts in strips with defined profiles, albeit not totally rectilinear. The constructive nature that breathes in Pedro Calapez’s pictorial production lives alongside the dreaming manifestations of a creation that is fundamentally intended to be aimed at the senses.
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La naturaleza constructiva que alienta en la producción pictórica de Pedro Calapez convive con las manifestaciones ensoñadoras de una creación que se quiere fundamentalmente dirigir a los sentidos. Aspecto que emparienta la obra de Calapez con la de los creadores de la pintura all-over, con quienes ha confesado compartir la voluntad de abrigar al espectador de su pintura en un campo cromático. La obra de Calapez, siendo una pintura abstracta absolutamente física, no revela, en cambio, el dramatismo de la gestualidad alcanzada por el Expresionismo Abstracto norteamericano o el Informalismo europeo. Es la suya una pintura de valores atmosféricos, ausente de violencia, y cargada, no obstante, de una actitud vigorizante.
17
An aspect which likens Calapez’s work to that of the creators of all-over painting, with whom he has confessed he shares a will to shelter the spectator of his painting in a chromatic field. Calapez’s work, being an absolutely physical abstract painting, does without the drama of the gesture achieved by American Abstract Expressionism or European Informalism. His painting is one of atmospheric values, lacking in violence and yet charged with an invigorating stance.
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[all works acrylic on aluminium] p. 18
View at solo exhibition “piso zero”, CGAC-Centro Galego de Arte Contemporánea, Santiago de Compostela 2005 350 x 700 x 31 cm
p. 30 (left)
p. 30 p. 19
Detail “Composição 05”, 2004
(right)
p. 20
“Composição 05”, 2004 380 x 360 x 40 cm Galeria Max Estrella collection, Madrid
p. 31
p. 21
View at solo exhibition “piso zero”, CGAC-Centro Galego de Arte Contemporánea, Santiago de Compostela 2005.
p. 24
“Composição 04”, 2004, view at solo exhibition “piso zero”, CGACCentro Galego de Arte Contemporánea, Santiago de Compostela 2005.
p. 27
p. 33
“piso zero”, 2004, view at solo exhibition “lugares de pintura”, CABCentro de Arte Contemporânea de Burgos, 2005.
p. 28
p. 29
“Composição 03”, 2004 view at solo exhibition “piso zero”, Centro Galego de Arte Contemporánea”, Santiago de Compostela 2005. “Composição 03”, 2004 232 x 322 x 40 cm Galeria Max Estrella collection, Madrid
p. 34 (left)
“Composição 20”, 2005 89,5 x 96,5 x 44,5 cm
p. 39
“Composição 11”, 2005 175 x 140 x 40 cm
p. 40
“Composição 14”, 2005 73 x 257 x 35,5 cm Carla and João Pedro Palmela collection, Lisboa
p. 41
“Nove cenas para um teatro”, 2005, view at Teatro Muinicipal de Almada 60 x 735 x 40 cm Teatro Muinicipal de Almada collection, Almada
p. 42
“Composição 07”, 2005, alternative display
View at solo exhibition “Private Geographies”, Maurio Mauroner Contemporary Art, Salzburgo.
p. 42 (right)
“Composição 07”, 2005 153,5 x 80 x 40 cm Américo Guerreiro collection
“Composição 10”, 2005 190 x 80 x 30,5 cm
p. 43
“E quindi uscimo a riveder le stelle”, 2005 114 x 174 x 10 cm
“Composição 09”, 2005 146 x 80,5 x 36 cm Miguel de Miguel collection, Segovia
p. 44
“Composição 08”, 2005 146 x 80,5 x 36 cm José Silva Pereira collection, Lisboa
p. 45
s/título 03, 2004 50 x 50 x 23,5 cm
“Ground 02”, 2005 200 x 200 x 10 cm
p. 46
“Composição 18”, 2005 133 x 177,5 x 44,5 cm
p. 37
“troubleland 07”, 2005 92 x 150 x 10 cm
p. 47
“Composição 16”, 2005 102,5 x 218,5 x 40,5 cm Rafael Canogar collection, Madrid
p. 38
“Composição 15”, 2005 112 x 140,5 x 40,5 cm Galeria Max Estrella collection, Madrid
p. 48
Detail “Composição 17”, 2005
p. 34 (right)
p. 36 (left)
p. 36 (right)
(above)
130
(below)
(left)
Detail “Composição 04”, 2004 50 x 800 x 50 cm “Composição 02”, 2004 240 x 320 x 40 cm
“Composição 03” and “piso zero”, 2004, view at solo exhibition “lugares de pintura”, CAB-Centro de Arte Contemporânea de Burgos, 2005 Detail “piso zero”, 2004
p. 35 p. 26
p. 38
Detail “piso zero”, 2004
p. 32
p. 22, 23 “Composição 01”, 2004
920 x 330 x 40 cm/460 x 660 x 40 cm CGAC-Centro Galego de Arte Contemporánea collection, Santiago de Compostela
“piso zero”, 2004, view at group exhibition Beaufort Outside – Inside, Contemporary Art Triennial, PMMK Museum, Ostende, 2006
“Ground 02”, 2005, view at solo exhibition “Private Geographies”, Maurio Mauroner Contemporary Art, Salzburgo.
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p. 49
“Composição 27”, 2006 143 x 183,5 x 41,5 cm
p. 50
“Composição 17”, 2005 89,5 x 245,5 x 44,5 cm
p. 51
“Composição 12”, 2005 112 x 141,5 x 20,5 cm
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p. 61
p. 62 (left)
(above)
p. 62 p. 51 (right)
“Composição 19”, 2005 89,5 x 96,5 x 44,5 cm
(below)
p. 63 p. 52
“Composição 06”, 2005 162 x 152 x 40 cm
p. 53
“Composição 26”, 2005 169,5 x 211,5 x 41 cm
p. 54 (above)
p. 54 (below)
“Composição 21”, 2005 104,5 x 121,5 x 44,5 cm
“Composição 13”, 2005 113 x 147,5 x 40,5 cm
p. 56
“INC 04”, 2005, view at solo exhibition “Obra reciente”, Galeria Max Estrella, Madrid, 2006 185,5 x 210,5 x 44,5 cm
“Vertical 04”, 2005 145 x 132,5 x 15 cm Salvisberg collection, Portugal/Switzerland “Vertical 03”, 2005 212 x 150 x 10 cm View at solo exhibition “para lá da montanha”, Galeria Presença, OPorto, 2006
“HS 02”, 2007 80 x 76,5 x 36 cm Epifanio Campo collection, La Coruña
p. 73
“Linha dupla 03”, 2006 107 x 174,5 x 23,5 cm Fundação PLMJ collection, Lisboa
p. 74
“Linha de 4”, 2006 42 x 176 x 23,5 cm
p. 75
“Linha dupla 02”, 2006 92 x 181,5 x 23,5 cm
p. 76
View at solo exhibition “Side by side”, Seippel Gallery, Cologne, 2006
p. 77
“SBS 05”, 2006 106 x 237 x 20,5 cm
“Composição 24”, 2005 211 x 160 x 40,5 cm
p. 78
“SBS 01”, 2006 25 x 137 x 8,5 cm
p. 67
“INC 01”, 2005, view at solo exhibition “para lá da montanha”, Galeria Presença, OPorto, 2006 194 x 321,5 x 44,5 cm
p. 79
“SBS 02”, 2006 65 x 51,5 x 35,5 cm
(above)
p. 79 (left)
p. 69
“fumos verdes”, 2006 106,5 x 216 x 25,5 cm Imatosgil collection, Santo Tirso
“Composição 22”, 2005 138 x 205 x 40,5 cm
p. 70
“INC 02”, 2005 185,5 x 159,5 x 44,5 cm
p. 72
p. 66
View at solo exhibition “Obra reciente”, Galeria Max Estrella, Madrid, 2006
p. 58
“HS 01”, 2007 205 x 265 x 10 cm
“Vertical 07”, 2006 128 x 150 x 6 cm
“enevoado risco”, 2006 106,5 x 131,2 x 25,5 cm
Detail “INC 04”, 2005
p. 71
“Vertical 06”, 2005 128 x 150 x 6 cm
p. 68 p. 57
p. 60
p. 65
“Composição 25”, 2005 122,5 x 134,5 x 40,5 cm
p. 55
p. 59
p. 64
“Composição 23”, 2005, view at solo exhibition “Obra reciente”, Galeria Max Estrella, Madrid, 2006 50 x 503,5 x 41 cm
(above)
p. 70 (below)
p. 79 (right)
“SBS 03”, 2006 66,5 x 105,5 x 35,5 cm
p. 80
Detail “SBS 06”, 2006 41 x 109,5 x 20,5 cm Philipp Weghmann collection, Barcelona
p. 81
View at the solo exhibition “Side by side”, Seippel Gallery, Cologne, 2006
“Passagem 14”, 2006 97 x 217,5 x 15,5 cm Arq. Nuno Mateus collection, Lisboa “Passagem 15”, 2006 102 x 217,5 x 15,5 cm Galeria Max Estrella collection, Madrid
“SBS 04”, 2006 66,5 x 110,5 x 20,5 cm Klaus Altmann collection, Bergisch Gladbach
131
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“SBS 08”, 2006 138 x 87,5 x 25,5 cm
p. 93
p. 83
“SBS 11”, 2006 75 x 179,5 x 30,5 cm
p. 94
“Totem 03”, 2007 166 x 132 x 36 cm
p. 84
“Totem 07”, 2007 166 x 109 x 23,5 cm
p. 95
“Totem 09”, 2007 135 x 218 x 12 cm
“SBS 09”, 2006 85 x 112,7 x 15.5 cm
p. 96
“SBS 10”, 2006 126 x 134 x 30,5 cm
“Sombras na cor 02”, 2006 137,5 x 142,3 x 32,5 cm
p. 97
“SBS 13”, 2007 72 x 133,5 x 25,5 cm
“SBS 12”, 2007 84 x 123 x 36 cm
p. 97
“SBS 15”, 2007 81 x 130,5 x 25,5 cm
p. 98
“Quatro estações”, 2006, view at S. Francisco Xavier Hospital, Lisboa, 2006, Variable dimensions S. Francisco Xavier Hospital collection, Lisboa
p. 98
p. 82
(left)
p. 84 (above)
p. 84 (below)
p. 85
p. 86
p. 87
p. 88
“Totem 02”, 2007 221,6 x 130,5 x 20,5 cm
(above)
(below)
(left)
(right)
p. 99
“SBS 16”, 2007 119 x 139 x 30,5 cm
“SBS 17”, 2007 98 x 192,5 x 24 cm
p. 104 “VAR 03”, “VAR 02” and “VAR 04”,
View at solo exhibition “BAND”, Galeria SCQ, Santiago de Compostela, 2006 “VAR 03”, 2006 92,5 x 131 x 28 cm Del Rio collection, Santiago de Compostela “VAR 02”, 2006 88 x 133 x 28 cm Rui Vitorino collection, Lisboa “VAR 04”, 2006 78 x 131 x 28 cm Ana M.ª Matos collection, Santiago de Compostela p. 105 “VAR 01”, view at solo exhibition
“BAND”, Galeria SCQ, Santiago de Compostela, 2006 “VAR 01”, 2006 88 x 133 x 28 cm José Boado collection, Santiago de Compostela
“Totem 04”, 2007 213 x 218 x 16 cm Studio view of “Totem 01”, 2007 287 x 217 x 16 cm “Totem 05”, 2007 250 x 305,5 x 16 cm MNCARS-Museu Nacional Centro de Arte Reina Sofia collection, Madrid
p. 106 “Composição 28”, 2006
125,5 x 129,5 x 30,5 cm Carlos Negreira collection, La Coruña p. 107 Detail “Composição 28”, 2006
p. 100 “Linha dupla 01”, 2006 p. 89
p. 90
p. 91
p. 92
132
“SBS 14”, 2007 144 x 174,7 x 36 cm “Totem 08”, 2007 170 x 70,5 x 21 cm M. Iglesias collection, Santiago de Compostela “Sombras vermelhas”, 2007 92 x 243,5 x 36 cm ANA, Aeroportos de Portugal SA collection, Lisboa “Totem 06”, 2007 133 x 130,5 x 16 cm
89 x 371 x 28 cm M.ª Paz Fernández Marcos collection, Santiago de Compostela
p. 108 “Escala de cores 03”, 2008 (left)
217 x 130,5 x 8,5 cm
p. 108 “Escala de cores 02”, 2008 p. 101 Detail “Linha dupla 01”, 2006 p. 102 Detail “INC 05”, 2006
210 x 252,8 x 35,5 cm Banco Galego collection, La Coruña
(right)
217 x 130,5 x 8,5 cm Fundación Pedro Barrié de la Masa collection, La Coruña
p. 109 Detail “Escala de cores 04”, 2008
217 x 130,5 x 8,5 cm p. 103 “INC 05”, 2006 and “Linha dupla 01”,
2006, view at solo exhibition “BAND”, Galeria SCQ, Santiago de Compostela, 2006
p. 110 “ASA 05”, 2007
63,5 x 73,5 x 12,5 cm
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p. 111 “ASA 01”, 2007
194 x 453 x 23 cm p. 112 “ASA 02”, 2007
200 x 375 x 23 cm p. 113 “ASA 04”, 2007
p. 120 “Linha de 6 B”, 2007 (above)
57 x 398 x 16,5 cm
p. 120
“Linha de 6 A”, 2007 57 x 398 x 16,5 cm
(below)
p. 121 View at solo exhibition “Planos”,
129 x 192 x 23,5 cm p. 114 “ASA 03”, 2007
Galeria Lisboa 20, Lisboa, 2007 p. 122
139 x 191,5 x 23,5 cm p. 115 “ASA 06”, 2007
“MOD 02”, 2007, View at the solo exhibition “Planos”, Galeria Lisboa 20, Lisboa, 2007 210 x 900 x 24,5 cm
185 x 255,5 x 15 cm p. 124 Detail “MOD 02”, 2007 p. 116 “SBS 18”, 2008
108 x 137 x 23,5 cm Dr. Gonçalo Moura Martins collection, Lisboa
p. 125 “MOD 01”, 2007
60 x 109 x 24,5 cm p. 126 “RW 01”, 2007
p. 117 “SBS 21”, 2008
(left)
130 x 176 x 6 cm
192 x 155 x 18,5 cm p. 126 View at solo exhibition “Planos”, p. 118 “SBS 19”, 2008 (above)
113 x 152 x 23,5 cm
p. 118
“SBS 20”, 2008 136 x 167,5 x 16,5 cm
(right)
Galeria Lisboa 20, Lisboa, 2007
p. 127 “RW 02”, 2007 (below)
237 x 340 x 6 cm Banco Espírito Santo (Spain branch) collection, Barcelona
p. 119 “SBS 23”, 2008 (above)
117 x 136,5 x 18,5 cm
p. 119
“SBS 22”, 2008 112 x 137 x 23,5 cm
p. 128 “RW 03”, 2007
24 x 117 x 6 cm (below)
p. 129 “RW 04”, 2008
300 x 400 x 5 cm
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PEDRO CALAPEZ was born in Lisbon (1953) where he lives and works. He began taking part in exhibitions in the seventies and in 1982 had his first solo exhibition. He has exhibited his work individually in various galleries and museums, most notably Histórias de objectos, Casa de la Cittá, Roma, Carré des Arts, Paris and Gulbenkian Foundation, Lisbon (1991); Petit jardin et paysage, Salpêtriére Chapel, Paris (1993); Memória involuntária, Chiado Museum, Lisbon (1996); Campo de Sombras, Pilar i Joan Miró Foundation, Majorca (1997); Studiolo, INTERVAL-Raum fur Kunst & Kultur, Witten, Germany (1998); Madre Agua, MEIAC - Contemporary Art Museum, Badajoz and CAAC - Andalucia Contemporary Art Centre (2002); Selected works 1992-2004, Gulbenkian Foundation, Lisbon (2004); piso zero, CGAC - Galicia Contemporary Art Centre, Santiago de Compostela (2005); Lugares de pintura, CAB - Caja Burgos Art Centre, Burgos. Most outstanding among the various collective exhibitions in which he has taken part are the biennials of Venice (1986) and S. Paulo (1987 and 1991) and the exhibitions: 10 Contemporâneos, Serralves Museum, OPorto (1992); Perspectives, Marne-La-Vallée Contemporary Art Centre (1994); The day after tomorrow, CCB - Belém Cultural Centre, Lisbon (1994); Ecos de la materia, MEIAC, Badajoz (1996); Tage Der Dunkelheit Und Des Lichts, Kunstmuseum Bonn (1999); EDP.ARTE, Serralves Museum, OPorto (2001); “Del Zero al 2005. Insights on Portuguese art”, Marcelino Botín Foundation, Santander (2005); Beaufort Outside - Inside, Contemporary Art Triennial, PMMK Museum, Ostende (2006).
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Solo exhibitions (since 2004) 2008 “Escala de color”, Galeria Max Estrella, Madrid. 2007 “Planos”, Galeria Lisboa 20, Lisboa. 2006 “Band”, Galeria SCQ, Santiago de Compostela (cat-text Paulo Reis). “side by side”, Seippel Galerie, Cologne (cat-text Calapez). “Para lá da montanha”, Galeria Presença, Porto. “Obra reciente”, Galeria Max Estrella, Madrid. “alguns estudos e desenhos”, Galeria do Novo Teatro Municipal de Almada. 2005 “Private Geographies”, Maurio Mauroner Contemporary Art, Salzburg. “Lugares de pintura”, CAB – Centro de Arte Caja Burgos, Burgos (cat-text Mariano Navarro). “piso zero”, CGAC – Centro Galego de Arte Contemporânea, Santiago de Compostela (artist book: “Transparências”). 2004 “Selected works 1992-2004”, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisbon (cat-texts: Christof Schreier, João Miguel Fernandes Jorge, Maria Helena de Freitas). Collections: Caixa Geral de Depósitos, Lisboa; Centro de Arte Caja Burgos, Burgos; Central European Bank, Frankfurt; Centro Galego de Arte Contemporânea, Santiago de Compostela; Chase Manhattan Bank N.A, New York; Colecção António Cachola, Elvas; European Investment Bank, Luxembourg; Fondación Coca-Cola España, Madrid; Fondación Prosegur, Madrid/Lisboa; Fundació Pilar i Joan Miró, Mallorca; Fundação Calouste Gulbenkian, Lisboa; Fundação EDP, Lisboa; Fundação Luso-Americana, Lisboa; Fundação PLMJ, Lisboa; Fundação Portugal Telecom, Lisboa; Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museu de Serralves, Porto and others.
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