1955 · Spain
Galleries and Exhibitions
Jaume Plensa's work is on display in 9 galleries around the world, in countries such as Austria, Portugal, and Spain. Galleries include Mario Mauroner Contemporary Art Vienna in Austria, Galeria Fernando Santos in Portugal, as well as Galería La Caja Negra in Spain. Jaume Plensa's work has most recently been displayed during the exhibition Solo Exhibition at Galerie Lelong | Paris, Matignon in France. The exhibition was open from 09 October 2019 until 15 November 2019. Jaume Plensa's other most recent exhibitions listed on Artland include the exhibitions at Galería BAT Alberto Cornejo in Madrid (10 November 2019 - 24 December 2019) with the name Especial obra gráfica and Galería Fernando Pradilla in Madrid (20 December 2018 - 16 February 2019) with the name TRANSATLÁNTICA. Jaume Plensa's first recorded exhibition in Artland's database was called Viva Sculptura, Viva and took place at Galleri Andersson/Sandström in Stockholm, Sweden from the 24 August 2017 to 30 September 2017.
Jaume Plensa in private collections
Jaume Plensa's art can be found on Artland in the following collection: Evan Planchon . This also includes works by other critically acclaimed artists, Françoise Coutant, Marco Andrea Magni, and Bruno Augsburger.
Historical Context of Spain
The influence of Spain was significant in establishing the art of the twentieth century. Initially with his Blue then Rose phases, although he would eventually settle in to France in 1904, Picasso revealed a truly expressive approach to figuration in the early 1900s, the era of post-Impressionism. Pablo Picasso is also thought to be the most influential original member of Cubism, a major art movement in which he would also be joined by Spanish artist Juan Gris. Though they were settled in France for the most part of their respective artistic careers, Salvador Dali and Joan Miro were both highly influential figures in the Surrealist movement.
The political and cultural landscape of Spain during the twentieth century was governed by the totalitarian dictatorship of General Franco, whose regime subjugated the country from 1939 to 1975. His passing prompted a restitution of the monarchy to Juan-Carlos I, who consequently restructured the State. The Franco dictatorship, characterised by a fierce anti-communist position, led to the exodus of major intellectual and cultural figures, decided to escape this oppressive system. The artistic and cultural flourishing of the avant-garde were deeply stirred by this situation, as liberal artistic movements are frequently significative of leftist penchants. Some highly influential modern and contemporary Spanish artists include Antoni Tapíes, Eduardo Chillida, Eduardo Arroyo and Manolo Valdes.
Further Biographical Context for Jaume Plensa
Jaume Plensa was born in 1955 and grew up during the 1970s and was influenced by the artistic atmosphere of the time. The 1970s were a period of consolidation and growth in the arts, most often defined as a response to the central tensions of the previous decade. Conceptual art emerged as a influential movement, a partial evolution of and response to minimalism. Land Art took the artwork into the spacious outdoors, taking creative production away from commodities and engaging with the earliest ideas of environmentalism. Process art combined elements of conceptualism with other formal reflections, creating mysterious and experimental bodies of work. Expressive figurative painting began to regain importance for the first time since the decline of Abstract Expressionism twenty years before, especially in Germany where Gerhard Richter, Anselm Kiefer, Georg Baselitz became highly renowned figures worldwide.
A number of the artists who gained fame and successful in the 1960s remained leading figures. For example, Andy Warhol branched out into film and magazine publishing, the first type of pan cultural activity for a visual artist. This secured his reputation as a globally renowned celebrity in his own right.
New York maintained an prominent position in the international art world, ensuring that international artists continued to flock to the galleries, bars and downtown scene there.
International movements gained popularity included feminism, which translated strongly into the visual culture, and photorealism which had begun in the 1960s and enjoyed substantial commercial and critical success. For the first time painters and sculptors from Latin America were embraced by the leading critical and institutional levers in New York.
Towards the end of the decade, the emerging practices of graffiti and street art were beginning to gain attention in the fine art community. Artists like Keith Haring and Jean-Michel Basquiat were working in downtown Manhattan and guaranteeing that spray paint and tagging gained some egitimacy as a fine art practice, a trend which would fully emerge and dominate throughout the following decade.
In Japan and Korea, artists associated with the Mono-Ha movement focused on encounters between natural and industrial materials such as stone, glass, cotton, sponge, wood, oil and water, arranging them in mostly unaltered, transient conditions. The works focused on the interdependency of these various elements and the surrounding space, and had a strong interest in the European philosophy of phenomenology.
The largely Italian Arte Povera Movement gained world-wide recognition during the 1970s, with artists like Jannis Kounnelis, Mario Merz, and Michelangelo Pistoletto achieving global praise.