Josep Suñol Collection

Level 1
11
3
4
2
12
10
Passeig de Gràcia 98
08008 Barcelona
T +34 93 496 10 32
F +34 93 487 20 19
www.fundaciosunol.org
info@fundaciosunol.org
MONDAY – SATURDAY 16H – 20H
(THURSDAY, SUNDAY AND BANK HOLIDAYS)
Other times can be arranged in advance
by telephone or e-mail.
9
1
Normal rate: 4 e
Concessions: 2 e
8
5
16
13
6
14
7
15
Zush / Evru
Miquel Navarro
1970
– 2001
Nino Longobardi
Pep Duran
Ramon Guillén-Balmes
Eva Lootz
Fina Miralles
Daniel Dezeuze
José María Sicilia
Luis Gordillo
Isidre Manils
Tomás Gómez
Sergi Aguilar
Antoni Tàpies
Joan Brossa
Pere Noguera
Alberto García-Alix
Susana Solano
Miquel Barceló
Robert Llimós
Jaume Barrera
Víctor Mira
Joaquim Chancho
José Manuel Broto
Miquel Mont
Herminio Molero
Curro González
Carles Guerra
Adolfo Schlosser
Antoni Muntadas
Antoni Miralda
Jordi Canudas
Peter Hone
Jordi Sabaté
Joan Rom
Javier Mariscal
Pello Irazu
Bill Culbert
J. S.
Rosa Amorós
Tonet Amorós
Jaume Plensa
Elisabeth Ballet
Antonio Socias
Tom Carr
Carlos Pazos
Jordi Colomer
Jordi Tolosa
Yamandú Canosa
Idroj Sanicne
Ramon Parramon
José Noguero
Juan Uslé
Jordi Martorell
Eugenio Cano
Carmen Calvo
Luis Macías
Josep
SuñolEloiCollection
Antoni Abad
Puig
Level 2
N
I
V
E
L
L
Z
E
R
O
Rosselló 240
08008 Barcelona
Nivell Zero
graphic design :
bang! bang!
9.Disseny
dl : 00000000
© Pep Duran, Evru, Carlos Pazos, Barcelona, vegap , 2008.
© Tomás Gómez, 2008.
© Fundació Suñol
Partial or total reproduction of this publication without prior
authorization from the publisher is strictly forbidden.
print :
Visitor’s Guide
Exhibition 07.02. – 31.12.2008
Room 1
Zush / Evru
Autorretrato, 1970
Nino Longobardi
Sense títol, 1982
Antoni Abad
Fragmento díscolo, 1991
Room 2
Zush / Evru
Dobrenia, 1990
Robert Llimós
Capell, 1980
Lluna, 1980
Porc, 1980
Jaume Barrera
El sabor dulce del lugar da
amor a la mentira, 1995
Room 7
Jaume Plensa
Sense títol, 1986
Eva Lootz
Sense títol, 1980
Curro González
Espejismos: Deutscher
Supermarkt, 1990
Fina Miralles
Sense títol, 1979
Herminio Molero
Sense títol, 1975
Daniel Dezeuze
Sense títol, 1976
Miquel Mont
Sans titre, 1990
Room 3
Luis Gordillo
La piscina del espíritu santo,
1987
José María Sicilia
Flor marco negro, 1987
Tomás Gómez
Noche americana-a, 1988
Noche americana-b, 1988
Luis Gordillo
Situación meándrica -3,
1986
Sense títol, 1987
Isidre Manils
Kigali 5 km, 1996
Sergi Aguilar
30 falques, 1980
Room 4
Pere Noguera
Sense títol, 1983
José Manuel Broto
Río oscuro, 1984
Victor Mira
Pintura de la media muerte,
1986
Robert Llimós
Picnic, 1982
Room 8
Carles Guerra
Interrupcions 1, 1998
Room 9
Antoni Muntadas
The last ten minutes, 1977
Sergi Aguilar
Blinky, 1990 – 1991
Room 11
Room 13
Pep Duran
Paisatge trobat, 1990 – 1991
Les sabates de Picabia,
1988
Sense títol, 1988
Sense títol, 1988
Idroj Sanicne
Orhl 21289, 1989
Elisabeth Ballet
Les parcours des mots,
1992
Jordi Colomer
Dibuix complex, 1988
Se couche et se leve
amb caracola, 1988
La puça F, 1992
Rosa Amorós
Si no fos..., 1992
Tonet Amorós
Omnium uterorum mater,
1991
Picnolepsia plúmbica,
picnolepsia estànica, 1992
Jordi Canudas
Sense títol, 1990
José Noguero
Mar mirall, 1992
Jaume Plensa
Cap de gos, 1983
Miquel Mont
Sense títol, 1995
Sense títol, 1996
Joan Rom
Safates, 1989
Peu, 1991
Jordi Sabaté
Patmos, 1992
Por un desmedido sentir,
1994
Potencia, 1996
Peter Hone
Residue, 1992
Fragment four, 1991
Room 10
Alberto García-Alix
A ras de suelo, 1997
Mujer, 1997
S/T, 1998
Autorretrato, 1997
Miquel Navarro
Brazo-cactus, 2001
Antoni Tàpies
Butaca, 1987
Antonio Socias
Justificación derecha, 1998
Madre pintura 13, 2001
Tom Carr
Sense títol, 1990
Sense títol, 1991
personal life experiences instantaneously.
This period could be defined as a journey
through a space that’s near to us, that’s familiar. Continually moving on is a basic condition; an artist’s style may change constantly
and it no longer matters about coherence;
the important thing is the daily transcription
of what’s happening, so that personal experiences move on to become collective.
The collection continues arguing that
art exists because some ideas can only be
expressed through images and these in turn
represent the spirit of their time. Seen from a
little distance 20th century art seems to have
created itself on a basis of sound affirmations,
but also from evolving, redefining and denying. It is only from this premise that we can
understand the cycle of ideas and anti-ideas
which have given us a very rich way of looking and seeing in the visual arts world.
Joaquim Chancho
Sense títol, 1984
Room 15
Eugenio Cano
Sense títol, 1997
Jordi Martorell
Apoteosis del hombre
blanco, 1991
Juan Uslé
City box, 1998 – 1999
Sense títol, 1999
Carmen Calvo
Estantería, 1990
José Noguero
Sense títol 13, 1991
Sense títol, 1992
Room 16
Herminio Molero
Sense títol, 1980
Luis Macías
Sense títol, 1992
Sense títol, 1992
Sense títol, 1995
Pep Duran
Paissatge trobat, 1990 – 1991
Carlos Pazos
Parole, parole, 1991
Zush / Evru
Dobrenia, 1990
<
Miquel Barceló
Le bal des pendus, 1992
Room 12
the most significant feature was a return to
making more of the interpretative sense of the
work of art through re-reading history, understood as an event of the past but also of the
present. The model followed used drawing
and painting as a formula to show the reality
which surrounds us, using more emotional and
expressive images of what is closest to us.
The object – the word sculpture virtually disappeared – is installed in a space where there’s
no hierarchy, nothing totem-like. The volume is
no longer invented, but instead objects which
are all around us, like a collage, take us to a
more recognisable world. Photography and
new technologies become part of the tool box
broadening the field of communication and
facilitating the immediacy of the news.
This new visual syntax makes the content and the result of its representation displace
previous conceptual and utopian aspects,
towards others that are more spontaneous and
nihilistic though no less significant for that.
A certain lack of inhibition is emerging: anything can be done to communicate
<
Susana Solano
La parella núm. 1, 1988
Zush / Evru
Sense títol, 1990
Bill Culbert
Orange-green-mr. Propreyellow, 1990
The Fundació Suñol opened the Josep Suñol
Collection to the public in May 2007, with an
exhibition entitled 1915 – 1995, which included
some of the most outstanding pieces from the
permanent collection.
This first exhibition set out to present work
that was selected not according to any chronological criterion but more as a random journey
through 20th century avant-garde art.
The second part of the collection can be
seen in the exhibition, 1970 – 2001, which will
show examples of conceptual art, minimal art
and arte povera. It seems appropriate to exhibit
these works now as they are the tendencies
which closed a cycle characterised by a current
of extreme radicalism in its thinking, in dramatic
contrast to attitudes since then.
This show is very representative of the
late 20 th century. The special friendship and
understanding between the collector and most
of the notable artists of the time arising from his
visiting their studios and following their progress, has led to the fact that the pieces in this
show are a good example of what happened in
that particular period in the visual arts.
1970 – 2001 is mainly based on pieces
from the ‘80s and ‘90s, a period notable for certain movements which irrupted into the art scene:
the Transavanguardia italiana, German NeoExpressionism, Bad painting and New British
Sculpture. This new notion of art spread rapidly
to other countries, including Spain. What united
these new generations of artists was that they all
questioned the validity of the historic avant-garde
movements, stemming from a certain perception
of a weakening in the progress of art, a crisis
about the subject and the modern movement.
It could be said that all of these artists were
backing a major change in art practice. Perhaps
<
Room 5
Pello Irazu
Plural, 1991
Room 6
Ramon Parramon
Sense títol, 1988
Kissme, 1989
J. S.
Vespa, 1990
Antoni Miralda
Sense títol, 1979
Eloi Puig
Sense títol, 1993
Uno y su esquema, 1999
Jordi Tolosa
Després d’una nit
d’estranya joia, 1988
Yamandú Canosa
Claustro, 1988
H 124, 1991
Adolfo Schlosser
S/T, 1980
Antoni Tàpies
Peu i vernís, 1985
Càntir i bota, 1987
Room 14
Javier Mariscal
Cepillo sube y baja, 1989
Ramon Guillén-Balmes
Modelo de uso nº 5, 1992
Petit suport per Txema
Retama, 1993
Joan Brossa
Capitomba, 1986
Carlos Pazos
Parole, parole, 1991
Josep Suñol Collection
1970 – 2001
<Tomás Gómez
Noche americana-a, 1988