Subscribe to RSS feed

SIGNIFICANCE OF THE STYLE (1978)


AUTHOR CONCHA JEREZ
TITLE SIGNIFICANCE OF THE STYLE
DATE 1978
TECHNIQUE Installation consisting of eleven pieces
EDITION Unique word
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.
MATERIALS
 Various
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:

      • Base piece made up of 12 reduced photocopies in translucent polyester of 12 art critics -corresponding to 7 newspapers-, intervened with self-censored illegible writings. The photocopies are placed between transparent methacrylates hanging from a transparent methacrylate frame. MEASUREMENTS: (1.50 x 1.93) m
      • Headline piece made of translucent polyester in which only the headlines of the twelve art critics appear, in the corresponding place, made with illegible self-censored writing.
      • Photographic piece made of translucent polyester in which only the spaces occupied by the photographs of the twelve art critics appear, in the corresponding place, made with illegible self-censored writing.
      • Mobile-piece made up of 7 double sheets of translucent polyester (1.10 x 1.93) m, hung from a transparent methacrylate grid of (1.20 x 1.20)m.
      • Glass swing-piece hung from the ceiling intervened by a translucent polyester with self-censored illegible writings.
      • Seven mouse traps intervened by seven translucent polyester reductions of the same number of reduced photocopies of the base piece. All of them covered with illegible self-censored writing. MEASUREMENTS: variable according to space.
      • 1+1+1+1+1=1. Object fotográfico old intervened with a reduced photocopy on white paper of one of the critics. The photocopy is covered with self-censored writing. MEASUREMENTS: (14x24x2)cm.
      • THE MAN WITH THE THREE BREECHES. Artist’s book. MEASUREMENTS: (11x15x2)

     
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”.
OTHER INFORMATION