|TITLE||SIGNIFICANCE OF THE STYLE|
|TECHNIQUE||Installation consisting of eleven pieces|
|PROPERTY||Concha Jerez Archive|
|DIMENSIONS||Variables The piece is made up of three modules of (105×70) cm. It can be mounted in a linear way, so the total dimensions would be (325×70) cm. It can also be mounted in three rows of (105×70) cm, so the total dimensions would be (105×220) cm.|
|CONCEPT||This installation arises from the installations made by the author at the Ovidio Gallery in Madrid (1978) and at the Sala Tres in Sabadell (1979).
Both Installations were proposed as a proposal on the meaning of style, focusing on a personal reflection of the author reviewing the theme of STYLE in the artist.
The installations that supported the thesis defended by the author were developed through a group of works whose theme was the same in all of them. This theme was the aesthetic recovery of twelve pages of art from the daily press of Madrid belonging to seven newspapers.
The twelve pages were recovered in different ways, once previously extracted from their usual context: the newspaper. It ranged from the structural analysis of the pages based on various concepts, to their treatment as objects that were interrelated with others of various uses. In many cases the reduced photocopy was used as a basic tool.
|DESCRIPTION||The installation STYLE SIGNIFICANCE: AESTHETIC RECOVERY OF TWELVE ART CRITICISMS is made up of the following pieces:
|EXHIBITIONS||It is shown in the solo exhibition entitled CONCHA JEREZ: INTERFERENCES IN THE MEDIA held in 2014 at the MUSAC in León.
It is part of the individual exhibition entitled CONCHA JEREZ. INTERFERENCES en el año 2017 at the CAAM in Las Palmas de Gran Canaria.
In 2020 it will be presented at the Museo Nacional Centro de Arte Reina Sofía MNCARS, as part of Concha Jerez’s individual exhibition entitled “QUE NOS ROBAN LA MEMORIA”.