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Exhibitions

'The 80s. Autonomy of painting'

The talent of the young generation that returned to color, artists who were in the midst of the creative ebullience of the 80s.

'Vulcano', Xavier Grau (2008)
'The 80s. Autonomy of painting'
Lía Caraballo ainsa - 13/01/25

Sixteen Spanish artists from the generation of the eighties or Generation of Transition have integrated the exhibition 'The 80s. Autonomy of painting', at the Contemporary Art Center of Aínsa-Sobrarbe. The exhibition, which ended yesterday, has been part of the joint commitment of the Aínsa City Council and the Miguel Marcos Gallery to generate proposals that allow research and dissemination of contemporary art. Since its creation, in 1981, the Miguel Marcos Gallery has been involved in institutional projects that highlight the importance of the artists, groups and movements that founded the return to painting in the mid-seventies and, above all, in the eighties.

For this reason, this exhibition had the subtitle Autonomy of Painting, a theme that has been in force since the end of the 18th century, invoking an art exempt from the mimetic aspect of representation and from the canons established for purposes other than art itself. During the years in which the exhibition was focused, this autonomy achieved was also one of support and intention. Of support because the opening of the market that occurred, the emphasis on the claim of cultural rights rather than political ones, the influence and reach of the mass media and, above all, the need to invest, led to art becoming an estimable consumer good and, more than any other form of artistic expression, painting benefited from it. By intention, because the trends and isms that emerged then had two-dimensional space as the protagonist: neo-expressionism or German Die Neue Wilden, the Italian Transavantgarde, the French Supports-surfaces, postmodernism and Bad Painting, among others.

'The 80s. Autonomy of painting' 'Xa 129', Ferran Garcia Sevilla ( 1995)

In The 80s... we have been able to see works such as Carlos Franco's reinterpretation of the landscape in Cuenco serrano, the chaotic vitality with geometric structure of Xavier Grau or the speed of the gesture that captures the primal in the beautiful diptych 'Xa 128' and 'Xa 129' by Ferran García Sevilla; or the treatment of light and gesture in Estació de muntanya TV-4, by José María Sicilia, and the revision of what is rural and the symbology of the primitive and ancestral that have been contributed by artists such as Menchu Lamas, Antón Patiño and Antón Lamazares.

This exhibition has demonstrated how Spanish artists, with their works and the debate they fostered through groups such as Trama, Nueva Figuración Madrileña or Atlàntica, knew how to gauge the moment, weigh up the trends in vogue and generate works of the highest quality that continue to be references for current artists.

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