{"id":9148,"date":"2021-10-22T14:54:25","date_gmt":"2021-10-22T13:54:25","guid":{"rendered":"https:\/\/juliogonzalez.org\/?p=9148"},"modified":"2021-10-22T18:33:11","modified_gmt":"2021-10-22T17:33:11","slug":"julio-gonzalez-in-the-point-of-sculpture-fundacio-joan-miro-barcelona-oct-15-2021-march-6-2022","status":"publish","type":"post","link":"https:\/\/juliogonzalez.org\/en\/2021\/10\/julio-gonzalez-in-the-point-of-sculpture-fundacio-joan-miro-barcelona-oct-15-2021-march-6-2022\/","title":{"rendered":"Julio Gonz\u00e1lez in &#8220;The Point of Sculpture&#8221;, Fundaci\u00f3 Joan Mir\u00f3, Barcelona, Oct. 15, 2021-March 6, 2022"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8b.jpg\" alt=\"\" class=\"wp-image-9159\" srcset=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8b.jpg 768w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8b-225x300.jpg 225w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8b-600x800.jpg 600w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8b-145x193.jpg 145w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8b-18x24.jpg 18w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8b-27x36.jpg 27w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8b-36x48.jpg 36w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n\n\n\n<p><meta charset=\"utf-8\">Julio Gonz\u00e1lez\u2019s \u201cLes Amoureux II (The Lovers II)\u201d and \u201cMasque Ombre et Lumi\u00e8re (Mask Light and Shadow)\u201d are currently on display in the Fundaci\u00f3 Joan Mir\u00f3\u2019s new exhibition \u201cThe Point of Sculpture\u201d (Oct. 15, 2021-March 6, 2022).&nbsp; <\/p>\n\n\n\n<p>This exhibition, curated by the celebrated Barcelona-based sculptor David Bestu\u00e9, offers a fresh perspective on modern and contemporary sculpture from the 20<sup>th<\/sup> century through today, as creators sought to move beyond an art of mere representation.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"730\" height=\"1024\" src=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e-730x1024.jpg\" alt=\"\" data-id=\"9151\" data-full-url=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e.jpg\" data-link=\"https:\/\/juliogonzalez.org\/en\/?attachment_id=9151\" class=\"wp-image-9151\" srcset=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e-730x1024.jpg 730w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e-214x300.jpg 214w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e-600x841.jpg 600w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e-145x203.jpg 145w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e-17x24.jpg 17w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e-26x36.jpg 26w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e-34x48.jpg 34w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8e.jpg 746w\" sizes=\"auto, (max-width: 730px) 100vw, 730px\" \/><figcaption class=\"blocks-gallery-item__caption\">J. Gonz\u00e1lez, <em>The Lovers II <\/em>(1932-1933) <br>&amp; June Crespo, <em>Cheek to Cheek<\/em> (2015)<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"808\" height=\"1024\" src=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-808x1024.jpg\" alt=\"\" data-id=\"9149\" data-full-url=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez.jpg\" data-link=\"https:\/\/juliogonzalez.org\/en\/?attachment_id=9149\" class=\"wp-image-9149\" srcset=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-808x1024.jpg 808w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-237x300.jpg 237w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-768x973.jpg 768w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-600x760.jpg 600w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-1212x1536.jpg 1212w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-145x184.jpg 145w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-19x24.jpg 19w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-28x36.jpg 28w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez-38x48.jpg 38w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/54_julio-gonzalez.jpg 1515w\" sizes=\"auto, (max-width: 808px) 100vw, 808px\" \/><figcaption class=\"blocks-gallery-item__caption\"><meta charset=\"utf-8\">Julio Gonz\u00e1lez, <em>The Lovers II, <\/em>1932-1933<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>One of the themes addressed is the expression of human contact and desire. Under that umbrella, Gonz\u00e1lez\u2019s \u201cThe Lovers II\u201d (1932-1933, pictured back right) is confronted with Bilbao-based June Crespo\u2019s \u201cCheek to Cheek\u201d (2015, front), rendered in concrete and textile.&nbsp;<\/p>\n\n\n\n<p>Both works explore the timeless theme of human contact in innovative ways.&nbsp; In Gonz\u00e1lez\u2019s \u201cThe Lovers II\u201d, two abstracted profiles of lovers kissing, cut into sheet metal, stand out against the dark shadow created by the hollow recess of the cylindrical iron vessel supported by a conical base and a vertical rod.&nbsp; The rounded extremity of the vessel evokes a single head, as though the two bodies had fused into one, juxtaposing dark and light, matter and space, male and female, and thereby reinventing the theme of the amorous liaison.<\/p>\n\n\n\n<p>Gonz\u00e1lez\u2019s abstracted, timeless and contemplative depiction of this universal theme contrasts with June Crespo\u2019s colorful, contemporary and, one could say, \u201ccheeky\u201d rendition.&nbsp;<\/p>\n\n\n\n<p>The fruitful dialogue that emerges between the work of these two compatriot artists living and working in two different places and times attests once again to the continued relevance of Gonz\u00e1lez\u2019s pioneering sculptural work.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-3 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"864\" height=\"1020\" src=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90.jpg\" alt=\"\" data-id=\"9157\" data-full-url=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90.jpg\" data-link=\"https:\/\/juliogonzalez.org\/en\/?attachment_id=9157\" class=\"wp-image-9157\" srcset=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90.jpg 864w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90-254x300.jpg 254w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90-768x907.jpg 768w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90-600x708.jpg 600w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90-145x171.jpg 145w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90-20x24.jpg 20w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90-30x36.jpg 30w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b90-41x48.jpg 41w\" sizes=\"auto, (max-width: 864px) 100vw, 864px\" \/><figcaption class=\"blocks-gallery-item__caption\">Salvador Martorell, <em>Self-Portrait, <\/em>c. 1930 &amp; J. <meta charset=\"utf-8\">Gonz\u00e1lez, <em>Mask Light &amp; Shadow<\/em><\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"706\" height=\"1024\" src=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314-706x1024.jpg\" alt=\"\" data-id=\"4777\" data-full-url=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930.jpg\" data-link=\"https:\/\/juliogonzalez.org\/en\/catalogue\/masque-ombre-et-lumiere-mask-light-and-shadow\/928aldeasa-45-2\/\" class=\"wp-image-4777\" srcset=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314-706x1024.jpg 706w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314-207x300.jpg 207w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314-600x870.jpg 600w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314-145x210.jpg 145w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314-17x24.jpg 17w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314-25x36.jpg 25w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314-33x48.jpg 33w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2014\/09\/julio-gonzalez-masque-ombre-et-lumiere-1930-1930-e1445521475314.jpg 745w\" sizes=\"auto, (max-width: 706px) 100vw, 706px\" \/><figcaption class=\"blocks-gallery-item__caption\"><meta charset=\"utf-8\">J. Gonz\u00e1lez, <em>Mask Light &amp; Shadow<\/em>, 1930<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d.jpg\" alt=\"\" data-id=\"9155\" data-full-url=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d.jpg\" data-link=\"https:\/\/juliogonzalez.org\/en\/?attachment_id=9155\" class=\"wp-image-9155\" srcset=\"https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d.jpg 768w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d-225x300.jpg 225w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d-600x800.jpg 600w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d-145x193.jpg 145w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d-18x24.jpg 18w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d-27x36.jpg 27w, https:\/\/juliogonzalez.org\/wp-content\/uploads\/2021\/10\/UNADJUSTEDNONRAW_thumb_4b8d-36x48.jpg 36w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><figcaption class=\"blocks-gallery-item__caption\"><meta charset=\"utf-8\">Gonz\u00e1lez, <em>Mask Light &amp; Shadow<\/em> and Apel.les Fenosa &amp; Pablo Picasso, <em>Portrait of Dora Maar, <\/em>1939-1940<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>Gonz\u00e1lez\u2019s \u201cMask Light and Shadow\u201d (1930) is displayed in the section devoted to diverse depictions of the human body.\u00a0 Gonz\u00e1lez creates this work during the most abstract phase of his career, in a series of masks inspired by non-Western art and avant-gardist movements like cubism which he had previously rejected.\u00a0 Here, the human form is reduced to the perpendicular imbrication of two pieces of meticulously cut scrap metal.\u00a0 As its title indicates, the innovation lies in the capacity of these simple, geometric forms and the rough, textured surface of the metal to capture the effects of light and shadow.\u00a0<\/p>\n\n\n\n<p>This work It is displayed next to a sculpture that is different in tone, style and material: the expressive \u201cPortrait of Dora Maar\u201d, modeled in plaster by Gonzalez\u2019s compatriots and friends Pablo Picasso and Apel.les Fenosa in 1939-1940.\u00a0<\/p>\n\n\n\n<p>The proximity of these two works in this exhibition hosted by the foundation devoted to their friend and fellow Paris-based contemporary Joan Mir\u00f3 speaks to the significant contribution of Spanish artists in the development of modern art, and the way in which their pioneering works served as the basis for contemporary sculptural innovation.<\/p>\n\n\n\n<p>\u201cThe Point of Sculpture\u201d will be on display at the Fundaci\u00f3 Joan Mir\u00f3 in Barcelona through March 6, 2022.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Julio Gonz\u00e1lez\u2019s \u201cLes Amoureux II (The Lovers II)\u201d and \u201cMasque Ombre et Lumi\u00e8re (Mask Light and Shadow)\u201d are currently on display in the Fundaci\u00f3 Joan Mir\u00f3\u2019s new exhibition \u201cThe Point of Sculpture\u201d (Oct. 15, 2021-March 6, 2022).&nbsp; This exhibition, curated by the celebrated Barcelona-based sculptor David Bestu\u00e9, offers a fresh perspective on modern and contemporary [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":9153,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[640],"tags":[],"class_list":["post-9148","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition"],"_links":{"self":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/9148","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/comments?post=9148"}],"version-history":[{"count":4,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/9148\/revisions"}],"predecessor-version":[{"id":9167,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/9148\/revisions\/9167"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/media\/9153"}],"wp:attachment":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/media?parent=9148"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/categories?post=9148"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/tags?post=9148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}