AFTER SUN PARTY – 02.08.2015

31.07.2015
Chapter 5: we put the terrace and the water guns, about fun, we walk toguether.

MADE IN CHINA in our cocktail bar APOTHEKE – 30.07.2015

28.07.2015

Next thursday: MADE IN CHINA.
Visit our old chinese Burdel from the hands of our Bartenders in our cocktail bar Apotheke.

AFTER SUN PARTY – 10.07.2015

10.07.2015

Próximo domingo a partir de las 20:00h en nuestra playa real, entra en el oasis urbano que vamos a montar y vive la mejor waterwar de la city. Aconsejamos traerse bañador, nosotros ponemos las pistolas y en lo del cachondeo vamos de la mano.

AFTER SUN PARTY – 03.07.2015

02.07.2015

Sorry, this entry is only available in Cat.

Photo exhibition “LA PLAZA REAL Y SU GENTE” from NAZARIO at Ocaña

16.06.2015

On Wednesday 17th June, from 19:30h, NAZARIO will inaugurate at Ocaña his picture exhibition, “La Plaza Real y su gente”.

Nazario Luque has lived for many years in Plaça Reial, whose people he photographs every day from his window.
Nazario is the author of the illustrated book PLAZA REAL SAFARI, reissued by the Café Ocaña on the occasion of this exhibition.

Flyer_NAZARIO_2.indd

Ocaña se suma al circuito de diseño durante la Barcelona Design Week

09.06.2015

Durante la 10ª edición de la Barcelona Design Week 2015, Ocaña acogerá la colección de joyas MA (espacio en blanco), diseñadas por Agnès Wo y el taller “SerigrafiArte en Ocaña” de la mano de Kris Prats.

Agnès WO, arquitecta, profesora y coordinadora del departamento de joyería de la Escola d’Art i Superior de Disseny «Llotja», ha expuesto y vendido sus colecciones en la TATE Modern de Londres, el Museo Guggenheim de Bilbao, el Centro de Arte CaixaForum y La Pedrera de Barcelona, entre otros.

Agnès WO extrae del blanco el espacio que necesita y lo conduce por donde ella quiere. Manipulando la escala, adapta la tectónica a la anatomía humana. Descontextualizando el material, lo transporta a una esfera imprevisible. El mimbre salvaje se convierte porcelana delicada; los residuos de cerámica se convierten en un ingrediente naturalizado, como un esqueleto de coral. La planeidad del papel se repliega en sí misma y toma cuerpo, o se deshilacha para enjaular el aire con complejas celosías orgánicas. La artista también experimenta con materiales no convencionales, todos ellos llenos de blanco: resina, silicona, parafina, algodón…, que manipula y libera de sus límites para ofrecerles una vida inesperada.

Flyer Moritz

Por su parte, Kris Prats dedicada al mundo de la serigrafía artesanal, colabora con el Café Ocaña desde su apertura, estampando desde las cartas, los carteles, las tarjetas o hasta los delantales para los cocineros. La serigrafía forma parte de la identidad de Ocaña y Kris Prats lo plasma con sus estampaciones a mano.

Foto facebook baja

Relato China. Capítulo ocho. Pan Daijing

24.04.2015

I met Pan Daijing one Saturday afternoon in the city of Shanghai in the industrial area known as M50, where many art galleries are found. Then we kept bumping into each other at the city’s night spots until one day she invited me to collaborate with her. Although she is young, she is one of the strongest women I have ever met, demanding, intelligent, ambitious, disciplined. Let me introduce you to Pan Daijing.

Dessislava: Who is Pan? If must auto describe yourself how you will do it?

Pan: If possible I’d rather let my works describe myself for me.

D.: Ok, let´s start from the beginning. You born in China. What´s the name of your hometown?

P.: Where I was born is a city called Guiyang it’s the capital city of Guizhou and is in the south west part of China.

D.: Later you moved to San Francisco. What was your experience there?Pan_heat_1_72

P.: San Francisco has a great impact on my self exploration and future career. Growing up in a relatively conservative environment, the one and a half year spent in San Francisco really gives me freedom to create and to who I really am for the first time. Also I was really inspired and encouraged by the people I met there. For me somehow San Francisco feels more like home.

D.: Is this was the reason because you left?

P.: It was the time of my life that I needed a second beginning. I knew if I kept doing what I was doing in China at the time I would definitely became someone I would hate. So decision was made that I stepped out of my country for the first time at the age of 19. I went to Sri Lanka basically to calm myself down first then travelled to Europe and ended up moving to United States.

D.: What did you study?

P.: Oh a lot of things. As a lot of Chinese kids coming from my kind of background I studied really hard in high school and went to a top business school in Beijing. Then I just completely ran away from it and later on went to study film and sound design in different art schools in States and finally dropped out. Pretty much a failure in higher education ha.

D.: Did you start to create music there?

P.: The first time I started make music by myself was in San Francisco. Of course because I was studying something related. I was really doing a lot of things in the school but what i was making weren’t something representing my ideas or art at all. And may be around one and half a year ago I started really to produce music on my own. That was also when I met this group of people that were also passionate about the same things.  Even I came from a very different background with them. The feeling of being in a community was really strong. At the beginning I just used software and I still use it. But actually the best way for me to work is using hardware like drum machines and synthesizers. Also I like to use a lot of my voice. So I always have a microphone running through pedals. I especially loving playing live sets. They are like therapies for me.

D.: The next step after San Francisco was Berlin, correct?

P.: I was not very well at the end of my staying in San Francisco. Also I was having a  lot of drama in my personal life. I felt maybe it was time to leave San Francisco. So I moved to New York worked a part time job. Then moved to Berlin.

D.: What did you work there?

P.: Just some random work coming out from nowhere that I didn’t experience before. But I had enough of New York and figured maybe I would go back later.Pan_Le baron_72

D.: Did you connect with some musicians there?

P.: Yea I met a lot of musicians. Some of them were pretty amazing. I even made some stuff with one of them. The music scene in New York is quite interesting to me. People are pretty supportive and curious with what you are doing in general. So that’s pretty cool.

D.: And what happened in Berlin?

P.: I think that for me Berlin is very different than what other people probably feel what is Berlin. Maybe some people think Berlin is a party town. You go there and you do drugs and 72 hours party. But besides that Berlin is a place for creative people to exchange and get stuff done.  I´ve never been to a place like that before where everyone you meet they are really making something interesting. Artists, musicians and designer.  You get  to collaborate and always have ideas coming up. It is such a open – minded and  free spirit place. And is really great for me. I love Berlin because everybody was very talented and young. So you have to work harder. It’s hard to stay in studio not to party on weekends but if you do. You’ll see Berlin can offer more than just fun.

D.: How do you feel now in China?… After all this experience abroad…

P.: At the beginning when I came back to China I was really sad. Because I feel like everything is against me. Or I´m against everything. But now I think that actually is a good thing I´m in Shanghai right now. I like Shanghai a lot. When it comes to what I am doing there is not much going on but for me the important is what you are working on and contributing to.  Coming back to China is interesting because I get to look at my root again in a very different perspective. After two, three years abroad getting new things and new ideas for me is like a huge conflict. And I come back and look this things again can realise the difference and I realise what i should do. And of course the stuffs coming out from me. Has a lot of things influenced from my childhood, from my background. For me is great to be here also because a lot of things for this country is still new. Especially like  experimental music or art performance.  people are curious. And I also really enjoying doing things under a lot of restrictions. It’s more challenging and more interesting to see the rawness in it.

D.: Have you got your audience? People that follow you…

P.: I can´t say there are a lot of them because I´ve been in Shanghai only few months. But I can tell people like this specific genre and my style are happy about me playing shows here.Pan&Dre_1_1_72

D.: Now you just started one very interesting project called Self Service. Tell me something more about that.

P.: Actually is not my original intention to hold en event. From long time ago I want to have got an erotic gear label. Witch of course is gonna be mainly selling sex toys but I wanna stick with strict aesthetic. Very minimal and a lot of interesting design of course. Coming out from erotism, BDSM, fetishes and taboos. So besides vibrators there are also restraints. They are all made out of special fine materials like stainless steel. And curated strongly under different stories. The most fun part is that I’m trying to put music into this label too. Music under the same content. It’s also what I stand for.

D.: As well the concept of your project is related with the female power, correct?

P.: Exactly. It’s about pleasure of course. And purity. But besides that I want to initiate a different way of self exploration. Women should enlighten their inner power and be able to use it to create things like music, art and literature.  Especially in China sex is very sensitive topic and a lot of women when they think about sex  they think about man. Yet I believe sexuality is a gift that only yourself would understand. For women it’s not to please others but to enlighten.

D.: You are giving freedom to women.

P.: No no one can really give freedom to the other but to encourage them to pursue it. I wish one day there’s no more of those conservative prejudice and unfairness on women in China.

D.: And I can see that is still happen. All this crazy culture of wedding…Tell me something more about your project…

P.: Self Service started as an underground art and music event and evolves to a erotic gear label. It’s a concept i’ve developed since last year. And a lot of collaborations with friends will be on it too. Very exciting for me to see it’s coming to life.

D.: Can you tell me something more about your references in art, cinema, music, literature? From where Pan is getting her inspiration?

P.: My biggest inspiration is definitely come out from my personal experience. I read a lot of book in psychology and philosophy about sexuality, death, rituals and fetishes. A lot of thing I´m doing are in my nature. And I start to accept them. No one should be ashamed of anything of who they are . For music of course noise is like the most inspiring thing always to me. Nature noise is very inspiring to me. The rhythmic, noise in the ambience, in the atmosphere. I have got a lot of favourites musicians but one of them SPK has a really huge impact on me. I mean the early SPK before the 90´s when they still was doing very raw and industrial sound. And also a lot of their idea is related to mental health. And all this scientific things related with hospitals really attracted me. They give you a package, they give you a hole idea. They give you the philosophy. It is just like you are reading a book o watching a film. Just listen to this track. If you don´t have something to say in your stuff for me is not good. The early SPK is too random. Somebody can say that they are not musicians but for me that are poets. They are saying so much stuff that is touching! Is mush more just good worked produced techno track.Pan_Le Baron_2_72

D.: And what about contemporary art? Do you visit galleries?

P.: I´m not a big gallery person actually. But I’m interested in going to see performance art pieces. Last time in Paris I saw an video installation at Pompidou called Mad Dog was pretty cool.  Is art work of Oleg Kulik. I love watching maniacs cuz sometimes I feel being one of them too. Craziness in human nature is really striking to me. He was just with under ware and have collar on his chain. And the chain is into a car. And there was a lot of people around. And he was just like saying them: “I´m a dog and I´m a fucking mad dog and I wanna move this car.” I can see that his hole mindset is to dishumanize himself. He is a dog and he is moving that car with his neck. This piece is just a big fuck you to the society. I love that.

D.: What are you dreams about?

P.:  Weird crazy dreams all the time. And I remember a lot of them. Recently I dream about become ashes.

D.: We all became ashes one day…

P.: Me first. It is not about termination. I always picture myself when I´m fifty or sixty and I´m living in the mountains. My body exists but my ego goes away completely. There’s no self awareness, only sound, nature, air and me as ashes.

 

 

 

 

 

 

 

Sant Jordi

20.04.2015

Next thursday it’s Sant Jordi’s day, a tipical celebration here in Catalonia, where guys give a rose to his Girl and Girls a book to Guys and we are preparing something really magic, get tunned.

Tale China. Chapter seven. Mathieu Borysevicz

10.03.2015
As you enter the old building of the BANK gallery, the light carries you on and softly illuminates your steps. Mathieu and his team are working at an extremely high speed. The gallery is growing by the second. The moment I went in, I was captivated by them, the general atmosphere and, above all, by the choice of artists they have. Let me introduce you to the creator of MABSOCIETY, Mathieu Borysevicz.
Dessislava: Hi Mathieu. Your surname is Borysevicz. Can you tell me something more about your origins?

Mathieu: My father´s side of the family is Lithuanian. The Polish people say he is Polish but he claims he is Lithuanian. I am the third generation American from both sides. My mother is Italian American. The parents of my parents were all born in Brooklyn but their grandparents were not. So typical New York made.MB_luz_72

D.: Where were you born?

M.: I was born in Queens. I grew up in Long Island, had a suburban childhood, and then I went to Manhattan to study and live there. Soon after graduating, I came to China for the first time. It was 1994.

D.: Let´s go step by step. You studied Fine Arts. What major?

M.: The last year of studies we had to choose a major. I chose sculpture because they allotted a bigger studio. I particularity interested in installation at the time and I was also making video. Before that, I was painting. Around 1994 postmodern theory and culture criticism was at its apex. I was thinking about focusing more on research rather than physical objects. After graduation, the whole idea was to make art. But I had no money, no space and no time to do that in New York. At the time, I just needed to get far away from New York just like you probably needed to leave Barcelona and Bulgaria.

D.: But why China? China was not a very popular destination for producing art at that moment.

M.: Yes, but it’s cool now. At that time nobody was coming here. I had many reasons. One was that it is really far from New York. There were two options, India or China. I just wanted to be somewhere where I would have no sense of reference. Also, newspapers at the time were filled with current events from China. The culture of the fake and the mass urbanization was leading way to major social shifts. I thought it was real interesting from a postmodern perspective!!! A postmodern destination.

D.: And you came to China.

M.: I first went to Beijing from 1994 to 1998. My idea was go for six months only, on a sort of adventure. Get it out of my system and then return to good ole NYC.

D.: But you extended the six months?MB_Gallery_72

M.: Basically one thing leads to another. I enrolled in a language program to get a visa for the extended period of time and also a place to live. The school became my base. I then also began teaching English to make money, which was actually a good way to understand and access people especially when you don´t have the necessary language skills. Right before I left New York there was an article in the New York Times Magazine section, titled “Their Irony, Humour (and Art) Can Save China”. It was about contemporary art in China and written by Andrew Solomon. Andrew had done a survey of the renegade and mercenary artists living in Yuanmingyuan, the art village on the West side of Beijing. The article portrayed China as a place where artists have been repressed and were doing all this underground art and were all sexy smoking cigarettes. I was just like: “wow, that`s kind of different than the jaded scene in NYC”! So I contacted Andrew and he was generous enough to give me the contact of an artist´s wife who was German. Everything happened very quickly. Every morning I studied Chinese and each afternoon, I was riding my bicycle around the city with my video camera and meeting artists.

D.: Just like me. The first two months here I was walking 12 to 14 hours around the city with my camera.

M.: Yes, and it was really exiting. In China there is a huge transformation going on. A few years ago, that was even more the case and was extremely magnetic. So I stayed a little longer than six months. I also produced a lot of video footage and was looking for some equipment and time to start to process and edit the footage. A friend of mine, Chinese American photographer, introduced me to somebody who was producing television news. He was also a Chinese American producer for ZDF German Television. The idea was to work with him in turn I would be able to use ZDF’s equipment, instead it turned into a long career in television and film. So I began working at ZDF during the day and at night I was hanging with the artists. I began doing more curatorial projects and writing about art. At the time there were no spaces for artists in China. There were no galleries, no museums and no collectors. There was nothing. The only spot for exhibiting was habitually closed by the police on the opening day or before the opening. So people were basically just sharing their art works in their apartments.

D.: This was the life of Mathieu from 1994 to 98…MB_TimeOut_72

M.: In ‘98 I asked myself what the hell am I doing here? As four and a half years just zoomed by. I came to make my own art, as originally planned, and finally did have a show in Beijing, but I was mostly becoming a conduit for Chinese artists to the West through publishing and curating exhibitions.

D.: You were making money from the television, correct?

M.: Yes, I was making good money, certainly more money than working in a restaurant or in construction or teaching English. It was much more exiting because we were doing documentaries about the phenomena of China and meeting politicians and Rock & Roll stars. When you are press, foreign press especially, you have access to all kinds of spaces and people. We were always moving, from Tibet to Hangzhou to Hong Kong. I then started my own company and I was doing lots of independent documentaries for the European Union, The World Bank, I did a film for UNHCR about refugees in China that was also great.

D.: Wow! You’ve been in China for four and half years!

M.: Yes, yes, that is another thing. I learned Chinese; I also learned all this technical stuff about television. I made an entire career and I was curating, writing about and making art. From zero to two hundred! It was really amazing. But it was all about China. There was nothing outside. For me there was more to the world than just China. I was coming from New York, a very multicultural city where all kinds of different experiences run in unison. I wanted to make my own work but there was no place in China for a young American artist. There was no place for Chinese artists at the time! There were no venues and there was no platform. So I then moved back to New York in ‘98.

D.: And?MB_Gallery_2_72

M.: But I never really left China. In 1998, there was a big show at the Asia Society and PS1 of Chinese contemporary art in New York. It was called Inside Out: New Chinese Art. It was the first introduction of Chinese contemporary art in New York and many of the artists that I was hanging out with in Beijing came over and stayed in NYC, some others were already there and I became friendly with them. So although I was in New York I was still around a lot of Chinese artists. There was this community in exile and we had our Chinese New Year parties and other social events. The artists were making and showing art so I continued to write about them and curated shows with them. While at the same time, I continued my own work in film and television.

D.: What happened with Mathieu later?

M.: In 2007 I really needed to leave New York again. I had never really left China because I was traveling here each year for films and art projects. In 2006, I came two or three times to China. Once for curating a show, another time for a film project and again to finish a book project I initiated.

D.: What kind of book?

M.: The book is a study of urbanization in Hangzhou. It is essentially a photography document with three thousand images and was finally published in 2009.

D.: Let´s go back to 2007…

M.: In 2007, I was getting kicked out of my studio. I was going through a divorce. China was on the rise. A mini-party was going on here, everybody was getting rich, champagne and caviar was flowing through the artworld I was just like: “maybe it is time to go back!” I had never lived in Shanghai before, which is more cosmopolitan than Beijing, and I had a couple of friends here so I decided to try it out. I was paying my bills by working on films, writing for Art Forum, editing catalogues and curating shows… and also making my own work. It was too much! Then in 2008, I became a father and thought I have to figure out how to deal with all this. More and more, I became in touch with the commercial art world. Then, in 2010, I was hired as he director of Three on the Bund, Shanghai Gallery of Art.

D.: I know the gallery!

M.: The space is very beautiful but there is no dedication there. I worked a lot to build it up and then had a fight and decided to leave, my assistant and I. Then, got an office and began doing consulting and international curatorial projects.

D.: This was MABSOCIETY?MB_Budha_72

M.: M.A.B. are my initials. At Three on the Bund I was thinking about the community I had built up around the space besides me and the employees. There was the audience, the collectors, the media, and the artists. It was a small society. I thought what an important thing that was and couldn´t go back to being just Mathieu Borysevicz. It was also a way to make me sound bigger than just me. We quickly thought of a name and created a brand.

D.: BANK, your gallery, is definitely my favourite in town. Tell me something more about it…

M.: We first had an office on the 25th floor of an office building but it wasn’t a fitting place for us. I was free for a while but once we started paying rent I decided to look for another space. I thought that it’d be nice to have a space to incubate some small projects while we continued to do pop-up shows.

D.: The BANK building is very special as it dates back to 1925.

M.: It certainly is. It was pure luck, as if the space found us.

D.: How does it work?

M.: We work as an international curatorial studio. The whole idea was to bring non-Chinese and Chinese artists together and try to unify them within an interesting program. We have had Isaac Julien´s work here, as well as Paul McCarthy’s, Roxy Paine’s and some very established Chinese artists.

D.: Are there a lot of female Chinese artists?

M.: There are but they often don’t get the attention that the boys get. Unintentionally we at BANK have a good balance of the sexes. The Women´s Rights Movement never occurred here like it has in the rest of the world. Here, there is a different sense of social equality.

D.: I can feel that the new God in China is the money…

M.: There is no faith in anything except in the Renminbi.

D.: I suffer because I can´t go to the cinema here…MB_Gallery_3_72

M.: Shanghai is a cultural vacuum compared to other larger cities in the “developed world”. When I moved here for the first time, I was writing for Art Forum series called On the ground. They profile one city each year and asked me to write about Shanghai. The cultural scene seemed to me to be quite pathetic for a city of 23 million! There are many efforts to boost the scene but there are simply not enough artists here.

D.: How do you feel in Shanghai?

M.: I lived in a lot of different cities and it is difficult to feel totally at home in Shanghai. It is not exactly inclusive.

D.: You seem very included…(both laughing)

M.: Yes but it is a kind of constant struggle

Relato China. Capítulo seis. Eduardo Arranz-Bravo

05.02.2015

Conocí a Eduardo Arranz-Bravo en la inauguración de su exposición en Shanghai, en la Galería Matthew Liu. Había  gente de todo tipo. A Eduardo le faltaba solo un día para volver a Barcelona. Pero le pude convencer para que me dedicara un momento dentro de su agenda apretada. Al día siguiente nos encontramos en Hyatt, donde estaba alojado. Muy cerca del  área del Bund, que me confió que le encanta. La despedida que hicimos fue muy bonita, porque paseamos juntos por la zona mencionada. Adelante  nuestra charla…

Dessislava: ¿Quién es Eduardo Arranz-Bravo? Si tuvieses que autodescribirte ¿qué dirías sobre ti mismo?

Eduardo: Bueno, trato de ser un pintor. Trato de ser un ser humano. Trato de divertirme con mi trabajo y trato de decir la verdad. De ser auténtico.

D.: Estudiaste Pintura en Sant Jordi, La Facultad de Bellas Artes, Universidad de Barcelona…

E.: Cinco años que me sirvieron para hacer grandes amistades y para nada más. Porque la enseñanza que tenían era de un tipo que no era precisamente apasionante. Pero yo creo que incluso los malos profesores y las malas experiencias ayudan mucho al artista, si es fuerte, a hacer todo lo contrario de lo que te enseñan.

D.: ¿Con qué edad empezaste a pintar?

E.: De muy pequeño. Con nueve años ya estaba todo el día trabajando. Era un escándalo este niño repelente que no paraba de dibujar, de dibujar y de dibujar. Estaba, creo, predestinado a ser artista. No me forzó nadie. Era yo que estaba todo el día con un lápiz, pincel o algo.

D.: ¿Qué dibujabas entonces?

E.: De todo. Hacía retratos. Y ya pintaba al oleo. ¡Imagínate tú! Los niños estos extraños que estaban todo el día pintando.

D.: ¿Luego?Eduardo_Mathhuew_72

E.: Seguí trabajando y trabajando y al final con dieciocho años entré en Bellas Artes. Luego me casé muy joven, con veintidós años. Me fui al servicio militar, que entonces lo hacía todo el mundo a pesar de que estaba casado y con hijos. Y luego ya empecé con los veinticuatro años de una forma muy profesional a entrar en la Sala Gaspar. Una galería muy importante de Barcelona que tenía Picasso, Miró. Y eso me dio un aire profesional y un cierto dinero para lanzar mi carrera como pintor y no hacer nada más. Nunca he hecho nada más. Quiero decir que nunca he tenido otro trabajo complementario, como profesor por ejemplo. Me he dedicado toda la vida exclusivamente a jugar con la pintura.

D.: En el año 61 tuviste una exposición importante que se titulaba “15 paintings by Arranz”.

E.: Con diecinueve años, sí.

D.: ¿Fue la primera?

E.: Sí. Y a partir de entonces no he parado.

D.: Me imagino que en esta época tu mercado fue España.

E.: Claro, al principio fue España. De una forma muy lánguida como te puedes imaginar. Mucha miseria y a aguantar. Luego, mucho más tarde, empecé con las exposiciones en el extranjero. En los setenta ya empezaba a hacer exposiciones en Suecia, en Alemania, etc.

D.: En São Paulo…

E.: El Museo de Arte Moderno de San Pablo es de los más importantes de Sudamérica. Arriba está el MoMA en Nueva York y abajo está el Museo de San Pablo. Pero esto ya fue muy posterior, en el año 89. Una gran exposición, sí, que pasó al revés. Luego la trajeron a España, en el Palau Robert, donde se hacían exposiciones de Miró y Clavé. Pero ya se ha acabado, ya no hacen exposiciones. Luego he tenido exposiciones en Barcelona que eran muy insólitas y muy bonitas que ahora son irrepetibles.

D.: ¿Cuáles son tus referentes en el arte?

E.: Todos los pintores buenos y todos los pintores malos. Los buenos para saber cómo es un camino bonito y los malos para saber lo que no tengo que hacer.

D.: ¿Unos nombres?

E.: No te voy a dar ningún nombre. Esto es interminable. Empezaríamos desde Egipto a lo que quieras. Todo me impresionó. De cosas buenas hay toneladas.

D.: Tú has hecho un cambio desde la pintura figurativa hacia  la abstracta.

E.: Al principio era una pintura mucho más inocente. Estaba recién casadito y los niños por allí. Era una pintura más tierna. Y como que he cambiado siempre lo que he tenido alrededor. La vida va cambiando y tú vas cambiando como hombre y como pintor. Voy evolucionando sin obsesiones de estilo. Yo pinto una realidad paralela a la realidad.

D.: ¿Cuáles son tus temas actuales?

E.: Yo no tengo ningún tema.

D.: ¿Cómo empiezas a pintar?

E.: Me tiro al cuadro como uno se tira a una piscina. Es el cuadro el que me dice lo que tengo que hacer, no yo. No tengo un tema previo. Yo tengo un diálogo. Yo escucho y el cuadro me va diciendo cosas. “Este rojo no es bonito, cambia este rojo” y yo lo escucho. “Este negro tiene que ser más potente” y yo escucho. Los cambios más sutiles que el cuadro me va indicando. Y llega un momento cuando el cuadro me dice: “No me toques más, ya estoy acabado”. O a veces me dice: “No, no acabo de ver esto acabado, espérate unos días” o un mes o unos meses…Porque se ha roto la comunicación y hay que esperar a establecer otra vez el diálogo.

D.: ¿Te dice otras cosas el cuadro?

E.: Es un diálogo, digamos visual. Mi trabajo es visual. No es literario. Hay pintores que son más literarios. Y a mí no me gustan ni los títulos. O sea que los pongo por obligación.

D.: Por catalogarlos.

E.: Claro, para catalogarlos, sino sería un lío. Y para mi asistente también, que tiene que tener los datos.

D.: Hablando de catálogos. Vamos a tocar el tema del mercado del arte porque estamos en China.

E.: El cupo de vanidad a los treinta años ya lo tenía vacunado. Lo digo como una realidad. He hecho Londres, Paris, Viena, he hecho todas las ciudades alemanas importantes, que son muchas. He hecho todas las ciudades españolas: Sevilla, La Coruña, Madrid, Barcelona, Valencia Bilbao… ¿qué ciudad no he hecho? He hecho Estados Unidos muy fuerte durante veinticinco años de exposiciones, con catálogo todas. Realmente he trotado. He ido y estoy teniendo siempre nuevas experiencias.

D.: ¿Y tu experiencia en China? Tienes ahora tu exposición en la ciudad de Shanghai.Cuadro_72

E.: Muy positiva. Me ha gustado mucho. Es mi primer experiencia en Asia. Luis (el ayudante de Eduardo) está haciendo las cosas en Asia. La próxima exposición será en Japón. Yo no organizo las cosas. He tenido la suerte de que puedo esperar a que llegue gente que me propone cosas. Nunca he propuesto nada. No he vendido ni un cuadro en mi vida. Nunca. Me han comprado cuadros. Parece lo mismo pero no es lo mismo. Nunca he cogido un teléfono para vender un cuadro, lo cual es una gran suerte. No he tenido la desgracia de tener que limosnear. Y esto ha sido una suerte desde que tenía veinticuatro años. Y basta que no vayas como un perro faldero persiguiendo cosas para que las cosas te lleguen. Así es la vida, sadomasoquista evidentemente. Y aquellos que se desesperan por tener un contrato o una exposición…, pues no lo consiguen. Se les ve el plumero.

D.: ¿Cómo respiras la ciudad de Shanghai?

E.: Respiro fantástico. Me ha encantado. Me ha encantado la vitalidad que tiene. Toda la energía que tiene. Yo soy un hombre energético. He comunicado con la ciudad. Estuve inaugurando hace poco en Moscú y no me gustó nada. ¿Qué más quieres que te diga? No era mi ciudad. Nueva York me gusta mucho, San Francisco me gusta mucho, Moscú no me gustó para nada. Shanghai me ha encantado. Estoy feliz. Me ha encantado la energía que tiene la gente.

D.: ¿Y Barcelona?

E.: Yo me levanto a las cinco de la mañana a pintar. No sé nada más. La ciudad ha dejado de existir culturalmente.

D.: ¿Dónde está tu estudio?

E.: En Vallvidrera, allí en la colina. Es un estudio muy grande que ha hecho Jordi Garcés y que ha ganado un FAD. Es muy bonito, con una gran cúpula.

D.: La pintura es el lenguaje dentro del arte que se ve que nunca muere.

E.: Porque es una necesidad. ¿Por qué aquel hombre muerto de frío y de hambre tuvo necesidad de pintar? Yo creo que es una necesidad ligada al ser humano. El ser humano necesita una imagen de protección, digamos con toda la estupidez. Y eso es muy bonito.

D.: Yo te conocí en la inauguración que tuviste en la Galería Matthew Liu. Es una de las mejores galerías de Shanghai. Antes de tu exposición hubo una de Candida Höfer. Ella es una de las fotógrafas que más cotiza en el mercado de arte hoy en día. ¿Vinieron a comprar tus cuadros?

E.: Sí. Funcionó muy bien.

D.: ¿Tienes vínculo con el mundo del cine?

E.: Yo he hecho dirección artística en cuatro, cinco películas. Me gusta mucho el cine.

D.: ¿Con qué directores has trabajado?

E.: Sobre todo he trabajado con Jaime Camino. Ha hecho una película con Vittorio Gassman que fue muy divertida de hacer, por Vittorio Gassman sobre todo. Es bonito hacer dirección artística en el cine. A veces tienes que esperar. No volvería hacerlo. Es una etapa de mi vida que fue divertida. Me dieron un premio de la Generalitat a mejor dirección artística para una película sobre Las Meninas de Velázquez.

D.: Hablando de la Generalitat, Colita hace unos meses rechazó el premio de fotografía.

E.: Sí, y lo ha hecho muy bien. Es amiga mía. Ha salido la noticia solo en los periódicos de Barcelona. Lo que han hecho los últimos gobiernos de España ha sido desastroso con la cultura. Y los países que no tienen cultura no existen. A ver si se enteran. Por lo menos lo he dicho. La política cultural española  ha sido desastrosa con los socialistas, con PP y con “pipi”…, con todos, un puro desastre. Y claro, rebajar la cultura, que siempre es lánguida, es muy cruel. Estos países que no tienen cultura dejan de existir. Evidentemente la economía me parece primordial porque la gente no se puede morir de hambre. Pero no olvidar nunca la cultura porque sino el país no existe. Queda difuminado. Queda perdido.

D.: ¿Dónde consumes arte en Barcelona?Woman_fish_72

E.: Casi no veo arte en Barcelona. Y no tengo ni galería. En un mes he inaugurado en cuatro ciudades del mundo y no tengo nada en mi ciudad. En este momento tengo exposiciones en Nueva York, en San Francisco, en Moscú y en Shanghai. Cuatro sitios del mundo bien dispares uno de otro y en mi ciudad no tengo nada. Afortunadamente tengo mi fundación que la está llevando con gran cariño Albert Mercadé, mi director. Promocionando artistas jóvenes y haciendo lo que puede. Y ya es un punto de referencia. Hacemos muchas exposiciones, trabajamos mucho. Con dos duros sacamos milagros. Y ha caído simpática por esta dedicación que hacemos al arte muy joven. Hacemos catálogos a chicos que no se comían ni una rosca. Luego si ellos se empeñan o no es otro asunto. Pero que un chaval joven tenga un buen catálogo es un punto de apoyo que ninguna galería de Barcelona se lo va a dar. ¡Ninguna!

D.: ¿Tus referentes en la literatura?

E.: Yo leo cada día. Estoy releyendo más que leyendo. Releyendo muy a gusto los clásicos. Escucho música cada día también. Pero nunca las cosas mezcladas. Me gusta desde el rock más rotundo hasta  Bach. Me encanta Bach. A mí me parece patético pintores que se ponen música de fondo para pintar. Esto es imposible. Cuando pintas tienes que pintar. Cuando escuchas música tienes que escuchar música. Sobre todo si tienes categoría. No puedes hacer las dos cosas al mismo tiempo.

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