Exhibitions February - April 2019
- the fragrance of images (touring exhibition)

January - May 2019
- the lost identity. the face, colección olorVISUAL

September 2018 - January 2019
- the fragrance of images

March - May 2018
- the need for the infinite. Monochromes in colección olorVISUAL

January - May 2018
- electric and Distant. colección olorVISUAL Contemporary Photography

May - July 2017
- smell of Málaga. Olfactory Perceptions of the colección olorVISUAL

October 2016 - January 2017
- reproductibilitat 2.2. colección olorVISUAL

October 2016 - January 2017
- hipocamps

September - October 2016
- Smell Of Alella Vines

January - April 2016
- the Art of Collecting: Ernesto Ventós. colección olorVISUAL

July - September 2015
- SINESTESIA. colección olorVISUAL

Septembrer - December 2014
- smell of Cerdanyola. Olfactory Perceptions of the colección olorVISUAL

July - October 2014
- what is the smell of an exhibition? A selection of works the olorVISUAL collection

May 2014
- olfactory mini-screening. Chocolate Birds

June - October 2013
- smell of Cadaqués. Olfactory perceptions of the olorVISUAL collection

May 2013
- mini-screening olfativo

May - September 2011
- Smell colour. Chemistry, art and education

May 2012
- screening olfactory

October 2011
- olorVISUAL en Microwave

April - May 2011
- essential art.

February - April 2009

January - February 2006
- esencias11

June - September 2005
- essències10

November - December 2004
- esencias9

March - May 2004
- esencias8

June - July 2003
- esencias7

December 2001 - February 2002
- ikus usaina6

February - April 1999
- esencias5

October - November 1998
- esencias4

Abril-Junio 1998
- essències3

Mayo 1997
- essències2

October 1996 - January 1997
- essències

the need for the infinite. Monochromes in colección olorVISUAL

  • I just saw some dense, deep and velvety charcoal drawings by José Miguel Pereñíguez. The presence of the black tones that the artist places with mastery on cardboard makes it to cease being a drawing, becoming closer to a monochrome painting instead. Regarding this idea, some classics such as Yves Klein and his golden and blue works, Lucio Fontana, with his wounded white tones, the black ones of Malévich, the McCollum art installations or the works of Agnes Martin, Saura, Morandi or Ellsworth Kelly come to my mind. All in essence have a single dominant color, surface on which tensions, enchantment, complexities, problems or serenity occur.

    The exhibition is composed of selected artworks from the fantastic and personal collection that has been called colección olorVISUAL. It aims to explore the significance that these works get when seen in common with those others previously mentioned, what they do share.

    The collection shows a great complexity and also reveals the followed freedom in the criteria for its conformation. Within this complexity a constant characteristic is observed: the number of non-monochrome works in the strictest sense that share the monochrome tendency. Seen as a whole the works become isolated rather than relating to each other.

    They are autonomous entities that claim our attention from the wall or the base. In the set of artworks we can appreciate some comic (Gabriel, J.M. Othoniel), introspective (S. Bruggëmann, E. Bechtold, C. Alcolea), dramatic (C. García-Rodero, J. Fontcuberta), physical (M. Chirino, P. Cera, Equipo 57), virtual (C. Sandison, D. Canogar), ironic (A. Agrela), or structural references (A. Caro, P. Palazuelo, M. Navarro), among other suggestions.

    We would have to ask the spectator for calmness while seeing the artworks to be able to smell -the main objective of the collection- and savor them. The one that seems to be the simplest piece can surprise us by its complexity, and the subtlest (in appearance), by its insolence, and in the same way which seems to be harder, can show us its kinder side. The monochromatic? aspect of each piece requires us to pay an extra attention, to try to delve into its plasticity in reference to emotions. These are artworks not easily revealed.

    One of the purposes that we should embed in any exhibition is to arouse the curiosity of the observer and cause surprise or, at least, reflection and debate. On this occasion, the variety of disciplines and new languages comprised in the exhibition will not leave its visitors indifferent. Some pieces will impress us, others may leave us indifferent, but perhaps a second glance will disclose its real meaning, its essence.

    Rafael Ortiz

    Curator exhibition

  • The seat
    cicus. Centro de Iniciativas Culturales de la Universidad de Sevilla
  • Dates
    March - May 2018
  • Catalogue Link
  • Works -
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