Articles / Articulos
ART IN THE CITY
By Carlos Lastarria
Five decades in the Art
The painter Edgardo Catalán presents in the Sala Viña del Mar a show of works done during his many years of creative activity, all the way to the present. The exhibition is some kind of retrospective composed primarily of oils and watercolors. The viewing allows us to identify his motivations, which have to do with the eternal Valparaíso, with reminiscences of other places, with aspects related to music and calligraphy. A walk through Pompeii’s ruins, a “Tsunami” and other human inquiries, social, political and natural, taken to the canvas, in a mixture of different situations and events carried to a pictorial resolution.
Catalán belongs to an active group of artists that came out of a great moment for the arts in the region. Some speak of them as the “scattered generation” or the “lost generation”. I prefer other term: that of “the Golden Age” of the School of Fine Arts of Viña del Mar (1950-1960). Edgardo’s name belongs to a perdurable legacy, and as such can be appreciated in the present show, where memory ties in with images, and imagination with reality. All documented in painting as the only visual text to read. The show, more than an essay for a retrospective seems like a definitive construction.
A revision of his work through time allows us to weight its value and permanency.
His painting is an art lesson, in technical aspects as well as in the persistence of his proposal. What we see today is a coherent show, orderly, rigorously selected where the past and the present are just a moment in the arts. It’s a journey through time where epochs and moments are brought together in a way that only a painter knows how to do.
From the daily “La Estrella” Valparaíso of October 8th 2012
Edgardo Catalán: Escala de un “pasajero en tránsito” Por Agustina Blaquier
Extracto del artículo de Agustina Blaquier publicado en Arte al Día Internacional, Buenos Aires
Mayo del 2008
El 22 de mayo se llevará a cabo en la Galería Thames la presentación del libro de Edgardo Catalán, artista chileno que hoy reside en Valparaíso: “Edgardo Catalán: una poética de la ausencia”. En él se recorre la vida del artista por medio de obras seleccionadas. El prólogo de Hugo Rivera-Scott, entrañable amigo del artista, y el ensayo del filósofo chileno Sergio Rojas Contreras, nos ponen cara a cara con el significado se su proceso creador y de su resultado. Además se expondrán en Thames alrededor de 25 obras, algunas de ellas presentes en el libro.
Con una serenidad casi ajena a nuestro tiempo y un implacable sosiego, el artista y educador chileno, Edgardo Catalán, repasa toda su trayectoria hasta el presente. Reflexiona con profundidad sobre su obra y su temática. Edgardo Catalán es reflexión pura, es sabiduría de una vida vivida con plenitud; es acuarela, óleo, litografía, grabado, dibujo… por siempre dibujo. Es un viajante, es figuración y abstracción; es poeta y cuentista. Es un artista de su propia existencia
TO IMAGINE MEMORY
The “Rehearsal for a Retrospective” of Edgardo Catalán
Ithaca has given you the beautiful voyage.
Without her you would have never set out on the road.
She has nothing more to give you.
K. Kavafis; Ithaca
The artistic production of Edgardo Catalan can be read as a manifestation of a memory composed of images that return, searching for a visual body that will accept the distance that they bring. The bygone days return, but not like scenes demanding obsessively, rights over the present, but rather, they come the same way we return to those places we have never really left. A past that returns in the treasuring of its images it’s no other thing but the return to all that we owe the joys and sorrows implicit in the fact we have had a life.
The port of Valparaíso, the hills, houses wind and people, the promise payer with his halo of sadness, Bach and the iconography of his calligraphy, the posture of Monet, at the same time arrogant and tranquil, the skin of the form in the nudes, the eroticism, the postal envelopes and stamps, the paper boats, are some of the visual subjects that mark the itinerary of this “Rehearsal for a Retrospective”.
It is about a journey, but not the journey that is just remembered, like the proud tourist that shares his photos with those that stayed home, but rather the journey of memory itself which, with the strength of the imagination do not cease to move towards a Ithaca that dwells in the past, as if the beginning of everything were at the point of arrival. That which we do not cease to evoke, is that which we could never own, because after all, memory is not something we do, but rather something that happens to us.
Remembering the stations of a long itinerary we have discovered that we traveled in order to remember the trip, and in doing so, continue traveling.
The title of the exhibition tells us of a glance directed to the past. And yet, doesn’t the idea of a retrospective constitute the very essence of Catalan’s work? It could be said that many of these pieces are precisely a rehearsal for a retrospective, a reflection of the imagination in which the artist has brought a feeling, a texture, towards the visual focus of a scene. As spectators in the room we sense that the images in this retrospective contain, in every case, the dreaming coefficient of distance, of which dreams, remembrances, fantasies, desires, are made of.
Memory – like imagination- loves the distances in which it moves, and that is precisely what we see here: images in transit,
Scenes that no even for a moment could be catch without paper, color, or the stroke of the brush. That is why we also see in several paintings – also painted- the very same instruments used in the task of putting the past on images. On occasions we also see a picture within a picture when some scenes are offered to us in the form of vignettes, as if by doing this the artist were telling us: “this is how I imagine what I remember”.
Two more recent series in the production of the artist reflect visually, other type of magnitudes: “Pompeii” and “Tsunami”.
Catalan visited the ancient roman city buried by the violent eruption of the volcano Vesuvius the year 79 AD. A double trip, to the Napoli province, but also to an epoch whose origins are rooted in antiquity and which is now part of the modern imaginary, marked as an event of unimaginable destruction. In one of the paintings, the mummified bodies suggest individuals trapped in an eternal sleep. “Tsunami” is also about the force of nature that rushes into the everyday human existence, making evident the fragile dwelling of individual’s dreams and desires.
As if the constructions were made of matchsticks, an unimaginable volume of water reduces the houses to splinters.
The analogy that the artist proposes in “Tsunami 1973” is clear when the historic processes burst out as if they were natural events beyond themselves destroying the order of things.
Perhaps memory is not after all a faculty but it is rather made of images that have stayed with us. In that case, we only have memories of that we once imagined, like that painting of a couple carried by the wind over the hills of Valparaíso, or Monet in the garden of Giverny, or the skeletal hand that touches the young body of the model. The images that we evoke know something about us.
All memories have something of homage. It is what we owe to the places, the faces, the things that one day, which is not today, kept us company.
Written as a presentation for the catalog of the exhibition held on November 2012 at Sala Viña del Mar of the municipal Corporation of Viña del Mar, Chile.