Arte Madrid Fair
A la sombra del mar
Burlaps, canvases and papers give body to a plastic dialogue between two masters of abstract painting and letters, Manolo Millares and Manuel Padorno.
The notion of the urban nomad runs through Padorno's work and provides the foundation for this exhibition project. The nomadic condition indicates his interest in traveling and thinking about a double space, the timeline of the history of painting on the one hand and the experience of metropolitan architecture on the other. Both territories were pillars of his reflection. Thus, on the set of constructivist planimetries exposed, various responses to the historical influence of painters such as Monet - in Urban Nomada: Giverny -, Barnett Newman, Rothko, Giotto and Manolo Millares will be observed. As a whole, the group of paintings grouped under the title Urban Nomad share a vertical format typical of New York architecture that impacted Padorno so much.
United since 1953 by friendship, Millares and Padorno collaborated in multiple cultural projects such as the artisan magazine Astil or the poetic drama "Oí crecer a las palomas". An early experimental and historically relevant common project was the happening entitled "Manifesto contra el clasismo" in which both authors, together with the painter José María Benítez and the sculptor Tony Gallardo, declared their rejection of the precepts of the academy by destroying a siren of classic style in Martín Chirino's studio.
These vestiges are collected in the exhibition in the third room together with Machangos y monigotes, an early work on paper by Padorno in which, in a gestural and expressive way, he elaborates neo-figurative scenes reminiscent of Alberto Greco.
The presence of iconic works by Millares - of particular interest is the arpilleras Table 18 (1), Table 113 and Antropofauna-paloma - contribute to illustrate this link between the two Canarian artists, a link that transcended the affective and the collaborative. In this sense, the tribute that Padorno dedicates to his friend in Nómada urbano 107: Manolo Millares, a large-format painting exhibited in the last room, together with the unpublished poem El lienzo entrañable, 10 years after his death, is moving