JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954). Untitled. 1988. Bronze, canvas and twine. Unique copy.
JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).
Untitled. 1988.
Bronze, canvas and twine.
Unique copy.
Measurements: 164 x 25 x 44 cm.
Since the eighties, when Riera i Aragó found his own path, it bifurcated through two spaces, the seabed and the cosmos, which he imagined respectively furrowed by precarious submarines and zeppelins. The piece shown here is part of the "poetic machinism" that has been shaping an enormous personal universe. Often, as on this occasion, they are objects whose aesthetic is related to that of the submerged wreck, coated with an ancient patina that speaks to us of a forgotten past, or perhaps of a not so fateful future.
A painter and sculptor, Josep Riera i Aragó trained at the Escuela Superior de Bellas Artes in Barcelona. He made his individual debut in 1981 at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in that city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. His work presents a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work can be found in the MACBA in Barcelona, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.
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JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).
Untitled. 1988.
Bronze, canvas and twine.
Unique copy.
Measurements: 164 x 25 x 44 cm.
Since the eighties, when Riera i Aragó found his own path, it bifurcated through two spaces, the seabed and the cosmos, which he imagined respectively furrowed by precarious submarines and zeppelins. The piece shown here is part of the "poetic machinism" that has been shaping an enormous personal universe. Often, as on this occasion, they are objects whose aesthetic is related to that of the submerged wreck, coated with an ancient patina that speaks to us of a forgotten past, or perhaps of a not so fateful future.
A painter and sculptor, Josep Riera i Aragó trained at the Escuela Superior de Bellas Artes in Barcelona. He made his individual debut in 1981 at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in that city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. His work presents a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work can be found in the MACBA in Barcelona, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.
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