Aldeaduero, Spain: ART NEWS – The Angel Orensanz Territory

Angel Orensanz - Aldeaduero - Territory Orensanz -

Sculptor Angel Orensanz inspects the gorgeous views of Aldeaduero, Spain.

Aldeaduero, Spain Celebrates the Opening of the “Angel Orensanz Territory.”

March 17, 2014

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St. Patrick’s Day in New York City – courtesy of

Today, the city of New York celebrates St. Patrick’s Day through a blur of emerald sequins, shamrocks, certain green-tinted beverages, and of course, the grand tradition of the New York City St. Patrick’s Day Parade that has drawn audiences to the streets of the city for over 250 years.

Southeast of the excitement that currently emanates from Fifth Avenue and 44th Street in Manhattan, the Angel Orensanz Foundation for the Arts celebrates another milestone in the career of its founding artist and sculptor Angel Orensanz. On this day in Aldeaduero, Spain, the local government establishes the “Territory Orensanz” along the famed banks of the river Duero.

Angel Orensanz - Aldeaduero - Territory Orensanz -

A series of sculptures by Angel Orensanz in Aldeduero, Spain.

The ceremony kicks off in Aldeaduero, Spain at 1pm this afternoon and will be attended by honoree Angel Orensanz, as well as His Excellency the President of the Council of Salamaca, Francisco Javier Garcia Iglesias and the Director General of Tourism of Castilla and Leon, Javier Ramirez Utrilla. Mayors and members of civil authority of the Portuguese-Spanish border countries as well as provincial, regional, and national representatives of Spain congregate for an official presentation of the environmental art installations of Angel Orensanz in the region.

Angel Orensanz - Aldeaduero - Territory Orensanz -

A series of sculptures by Angel Orensanz in Aldeaduero, Spain.

The work presented in Aldeaduero, Spain was installed by Orensanz with heavy influences of film production and large-scale industrial architecture. The iconic platform upon which the pieces operate serve as “proto-structures with references to ancient structures and instruments” such as Totems or trees that recall both archaic use and futuristic technology. 

These tubular elements with which Orensanz utilizes space have an expressive value about them which is highly poetic, almost musical. In this way does the art work in tandem with the regional climate of Aldeaduero, Spain – one of water, body, wind and clouds, and especially timelessness.

From the Aldeaduero, Spain regional tourism website:

“Facing the background of the physical universe, this language of Orensanz, as a minimal archetype, becomes an humanistic and idealistic sculpture : one that mimics nature but does not seek to represent her entirely.Its value is that of all human endeavor, conscious of its own limits and its own outputs. It is a language in which to contemplate the human being can be sublimated in beauty and find a new hope.”

Angel Orensanz - Aldeaduero - Territory Orensanz -

View of the Aldeaduero river in Spain, with sculpture by Angel Orensanz in the foreground.

Angel Orensanz continues his long artistic career as one of the pioneer creatures of the new century, and this step in Spain of establishing the Territorio Orensanz solidifies his identity as a “global artist.”At present, Orensanz’s work continues from his studio Paris, as well as here at the Foundation on Norfolk Street,  in Manhattan, New York. Both sites will continue to serve in correspondence with one another, as aglobal showcase linked to the installations in Aldeaduero

Angel Orensanz - Aldeaduero - Territory Orensanz -

Sculptor Angel Orensanz creates a work of living photo-art with patient donkey in Aldeaduero, Spain.








Miami Art and Design: Miami Welcomes Sculptor Angel Orensanz


By: Tom Bellachio, 2014.

Miami Art and Design - Angel Orensanz - New York City

Sculptor Angel Orensanz presents his work at the Miami Art and Design art fair in Feburary 2014.

Sculptor Angel Orensanz represents just one of a notable list of contemporary artists who have made Miami a favorite destination for development, production and public formulation the artistic mind.

Orensanz’s work was actively accessible and on display at the current Miami Art Fair (Booth 312), which included a mesmerizing anthology of his sculpture, painting, drawing and photography/video.

Miami Art and Design - Angel Orensanz Foundation - New York City

Miami Art and Design 2014 fair presented the work of artists and galleries from across the international arts community.

His booth is one of the most visited at the Miami Art and Design fair; hundreds of experts, collectors, documentarians and visitors gathered in excitement over Angel Orensanz’s presence in the Southern metropolis.  This year, Orensanz presented bronze pieces, paintings, drawings and photography.  The common trait of his work is a subliminal, transcending magic that inserts into the visitor a universe of disturbing associations.

Miami Art and Design - Angel Orensanz Foundation - New York City

Luis Bunuel – Angel Orensanz develops a new installation art piece in the lands of Spain featured in much of Bunuel’s work.

Angel Orensanz developed a deep and mutually supportive rapport with surrealist and photographeer Luis Bunuel. Both were born in Aragon and were attracted to Paris and New York. Presently, Orensanz is developing an open sculpture project in the same landscapes of Western Spain where Luis Bunuel shot his “Tierra sin pan”  (Land without Bread), not far from the frontier with Portugal.

Bunuel visited Angel  Orensanz’s studio and Foundation in New York, installed for the last 30 years in a building that was erected in the early 19th century and is the oldest synagogue building in Manhattan. Bunuel enjoyed that heartland of references and meanings.

Angel Orensanz enjoys Miami’s artistic openness and fervor. He has brought a trove of mythical reptiles cast in Miami, which are featured in his booth (#312) at the current Miami Art Fair. Besides his mesmerizing sculptures his booth is populated with paintings, drawings and photography.

His photography work at the Miami Art and Design fair displays how prominently the medium serves as the doorway to the inner mind of Angel Orensanz, through which we levitate in a universe of oniric and fantastic constellations.
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Banksy Street Art: The End of an Era

The End of an Era: A month of Banksy Street Art in New York

by: Zoe V. SpeasThe Angel Orensanz Foundation for the Arts

Banksy Street Art residence in New York City - from October 27 in Greenpoint.

Banksy street art residence in New York City – from October 27 in Greenpoint.

October has been a busy month in the art world. We had a government shutdown, a Banksy street art residence, and consequent reactions ranging from outrage to a revitalization of  the question of defining art.

It all ties together, really, and that’s what I wanted to talk about before Halloween hits us full-force tonight and it’s November before we know it or remember how it came upon us so quickly.

banksy street art

The shutdown. Remember when that happened?

(Hey.  Remember when THIS happened?)

The first piece I wrote for the Angel Orensanz Foundation was a discussion about the definition of art, creatively entitled, “What is Art?” I scratched it out in a pitifully banged-up notebook during the long train ride from Richmond, VA to Penn Station, NYC.

I talked about how art is fundamentally dramatic—there are countless full-length theatrical dramas and comedies featuring characters that are artists or connoisseurs of art because of this quality. Whatever definition you assign to art, I believe it must allow for the drama and the conflict that is created by putting brush to canvas, hands to clay, etc. We thrive off of this drama, we need it, and we live for it because it illustrates the constant questions that percolate beneath the surface in us from day to day.

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Tahir Square. Angel Orensanz. Politics in art.

Too bad our society isn’t crafted to allow for the necessity of art.

In fact, we spend a lot of effort and money marginalizing art into something to do with leisure or entertainment. But there’s a difference—a monstrosity of a difference—between leisure/entertainment and art. Leaving the theatre after a production of Harold Pinter’s Betrayal or Shakespeare’s Richard III, I’m certainly not at my leisure. Entertained? More like slapped in the face by humanity.

By the way, those productions I just listed? Totally playing right now in NYC. Check them out. You’re welcome.

So, of course, when the government shut down for the first time in seventeen years, what’s the first thing to be cut from funding?

banksy street art

Always the first thing to go: shutting down the museums, shutting down the government.

The National Endowment for the Arts. In other words, the museums—the culture hubs, the “non-essentials.”

And in the middle of that conflict, Banksy comes to New York City for a self-curated artist’s residence and stirs the pot for us.

Banksy - Angel Orensanz Foundation for the Arts - New York City

Banksy street art at Yankee Stadium. October 30, 2013.

Banksy’s street art residency is called “Better Out Than In: an Artist’s Residency on the Streets of New York”, and beneath the stencil-outline header, a quote from Paul Cézanne triumphs the mission statement of the work.

All pictures painted inside, in the studio, will never be as good as those done outside.

I’ll say that perhaps the “outside” to which Cézanne referred might be of a slightly different context than the interpretation apparent in the Banksy street art, but in terms of impact? Banksy’s been spot-on.

banksy street art

“Better Out Than In” – Bansky street art residence in NYC. October 2013.

All of a sudden art—regardless of how you define it—emerges as a buzzword, a hot topic, the spark that ignites a city of people, young and old, desperate for a cause to impassion them enough to speak out.

It’s impassioned me, anyway.

I’ve spoken to gallery owners, artists, event planners, businessmen, and students about Banksy street art in New York this past month and I encountered no one who had nothing to say, no comment to add. In fact, the topic has served as a jumping-off point to larger issues of politics and society and the boundaries that divide generation from generation.

For myself, I have always been loath to discuss political leanings with friends and acquaintances—the ensuing arguments inevitably evolve into a loop of misunderstanding and personal affront. I prefer to stay within the realm of art and theatre where I feel comfortable arguing my beliefs—and yes, maybe that makes me a coward, being afraid of engaging in a dispute for fear of defeat or humiliation.

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Banksy’s Greenpoint portrait being painted over by a masked woman. Which is the graffiti – the Banksy street art or the silver paint obscuring it?

Graffiti does ruin people’s property and it’s a sign of decay and loss of control,” the mayor said, “Art is art, and nobody’s a bigger supporter of the arts than I am–you running up to somebody’s property or public property and defacing it is not my definition of art. Or it may be art, but it should not be permitted.” 

Mayor Michael Bloomberg, October 2013.

And yet, this October, I found myself spewing fire over the contradictions arising between vandalism and art, between art as a necessity and our unhesitating cessation of its funding when goings get tough, between the opinions of the Mayor of New York and the arts community of his city.

Banksy’s residence brought me to a single, perhaps obvious conclusion:

If I argued before that art is fundamentally dramatic, then it also must be deeply political.

I’m going to risk sounding like a college sophomore writing a term paper and quote the dictionary at you here—a definition of the word political“relating to relationships of power between people in an organization; to affairs of the state or government.”

Relationships of power between people. Yup. Sounds about right.

Art becomes the venue through which people can argue rights of individualism and power upon a level playing field. There are no mayors, governors, nor presidents: only personal expression and paintbrushes. And regardless of what you think of the Banksy street art and its artistic merits, his residence challenges us to question our relationship to one another, to our government, and to the city walls that house and protect us. 

Call it graffiti or call it art.

It was swift, it was dramatic, and it defined the month of October for me and countless other New Yorkers. Happy Holidays, everyone.

A Lapse in Art: The Government Shutdown

A Lapse in Art: The Government Shutdown

Closing Up Shop and Shutting Down the Museums?

by: Zoe V. Speas

It’s finally here. The long-awaited school trip of an eighth grade class from Small Town, USA to Washington D.C. The itinerary has been set, tickets purchased, museums targeted as essential tourism destinations.

After many hours and countless dollars spent in tolls, fuel, and hotel reservations, they’ve arrived inside the city limits of our nation’s capital, which teems with experiences that will last any young student and their chaperones for a lifetime.

And then it hits – the shutdown.

 government shutdown



Imagine the young minds and future leaders of our country as they tumble out of cramped seats on overcrowded buses. Imagine as they arrive upon the steps of the National Museum of American History or the United States Holocaust Museum or ANY BRANCH OF THE SMITHSONIAN INSTITUTION to discover:

This Museum has been closed due to the shutdown of the Federal Government. It will reopen when the Federal Government resumes operations.

This is where it hits home. The cultivation of knowledge and historical significance effectively impeded by the inability of our leaders in Washington, D.C. to come to an agreement about the appropriations of funds?

On the United States Government homepage, with its oddly disconcerting slogan – “Government Made Easy” – a list of the effects of the government shutdown may be found for information on what exactly the shutdown means to us.

There’s a long bulleted list of the institutions whose operations have been suspended, followed by a shorter list of five vital organizations of the government that proceed uninhibited by the shutdown.

government shutdown

This is by no means to diminish from these aspects of our government as any less significant than we hold them to be. They continue to operate because we, on an individual level, would be virtually unable to function without them.

That being said, click below on the museum webpages for our invaluable government-funded programs in Washington, D.C. Look at their statuses.

The Museum of American History.

government shutdown

The United States Holocaust Museum.

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The American Art Museum.

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The National Park Service. 

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All closed.

Fun activity?


Click on the museums found on the Government-sponsored museum homepage and explore the various manners – and various level of subtlety – with which each website has used to announce the suspension of their activities.

government shutdown

When her home catches fire, a mother looks immediately towards her child out of an instinct to save and protect. The fire alarm goes off in our place of work or in our homes, and we reach out to grab the items we cannot live without. It’s human nature.

Yesterday, the fire that threatened us to make the toughest choices as citizens of our country closed the doors to museums, barricaded memorials, and left the trash to sit uncollected in the National Mall as a result of the first government shut-down in 17 years.

At the end of the day, we let art and history burn for the sake of the greater good.

We’ll pick up the pieces and reopen the doors when the fire goes out. We’ll be grateful for the soldiers who continued to defend our freedom, for the prison guards and air traffic controllers who kept us safe, and to the government workers who delivered our paychecks.

But are we brave enough to look a little deeper and ask the uncomfortable questions? Can we live with the implications of our choices?

Examine what this says about our country. Our government. Our culture and our people. What does it say about you?

What is Art – Louder Questions, and more Colorfully

What is Art - Louder Questions, and more Colorfully
by: Zoe V. Speas
Angel Orensanz art views of Tahrir Square

What is art? Art is fundamentally dramatic:
Angel Orensanz art views of Tahrir Square

What is art? Sit down in a theatre. The lights come up. Actors appear, and somewhere in the first twenty minutes of Act One, the playwright has his chance to hook the audience into investing in his story.

His play is about art. College students stretch the boundaries of their medium. A blank canvas is sold for $200,000. A new generation challenges the autonomy of its predecessor.

The conflict in each plotline quickly escalates to a fever pitch, but why?

Art is fundamentally dramatic. 

With each brushstroke or manipulation of form, an artist presents a daring hypothesis to the world, designed to create questions where there were previously none. The work disturbs the otherwise quiet waters of our collective consciousness. It infects our dreams, challenges our beliefs, and forces us to grow.

What is art?

Alfred Molina in ‘Red’; Golden Theatre, NYC. 2010.

And like all growing pains, the aftershocks of drama in art are not always pleasant.

After all, why should a hardworking audience member come to the theatre on a Friday night and pay a hundred bucks to have his foundations shaken by the words of a man he’s never met? Our audience member worked his nine-to-five at a job that barely covers his mortgage and his family and now playwright John Logan speaks to him “in grand statements and capital letters about Art and Immortality”, according to Ben Brantley in his March 2010 New York Times Review of Logan’s Red.

When art and the individuals who create it are portrayed under the bright lights of the theatre, a special kind of illusion develops. One art form (theatre) uses another (fine art) to bring audience members inside a selective inner circle of society. The artist becomes a romantic and often tragic figure of both overwhelming ingenuity and hubris.

John Logan accomplishes this duality in his treatment of artist Mark Rothko in his two-character play, Red, which made its Broadway debut in March 2010 at the Golden Theatre. In this dramatic work, Logan explores the deeply personal, triangular relationship between a young studio assistant, artist Mark Rothko and his exploration of color as inspired by Henri Matisse’s 1911 painting, The Red Studio (MoMA, Painting and Sculpture I, Gallery 6, Floor 5). Rothko becomes infatuated with the use of red, as evidenced in his work, No. 21, currently on display in Gallery 921 of the Metropolitan Museum of Art. Of Matisse’s use of the color, Rothko said:

“When you looked at that painting, you became that color, you became totally saturated by it.”

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Mark Rothko, ‘No. 21′; Metropolitan Museum of Art

As a playwright, John Logan translates this infatuation to the stage, confining Rothko to the artificial reality of a theatrical production. By doing so, he elevates the artist from simply human to the celestial realm of fictionalization. Within these confines, the near-mythical personalities of artists are brought within the reach of every person in the house.

Suddenly, an intimate congregation of hundreds is able touch the empyreal. The “art world” and the “real world” of mortgages and MetroCards merge into a single frame of reference.

As superheroes of modern times, artists and their magic exist in a realm that society has isolated into something “other.” Audience members and they who flock to museums throughout the world are in awe of them. They envy them, perhaps, but are decidedly happy not to be them. To observe the “artist’s struggle” on stage confirms a stereotype perpetuated by a culture that endorses the very art it insulates with stage sets, perfect matting, and museum tags.

But audiences have a chance to make their own waves, simply by coming forward to the crowded theatres every night. By exploring the origins of art on stage through the experiences of fictionalized characters, the audience and the society it represents put forward questions and hypotheses of their own.

What is art?

Who are the people that create it?

What makes them different from me?

If art is fundamentally dramatic, then it is without question steeped in mystery. Dealing with the unknown and the universal opens windows into life and reality that give a glimpse of clarity only to blur and fade as the extent to which we know nothing is revealed. It’s a revelation that can be incredibly lonely, and on an island of 8.2 million people, loneliness is a surprisingly potent weapon of self-destruction.

It is important, then, to find the comfort and joy of knowing nothing. Which, exists, by the way, if you know how to look for it, and in fact becomes part of a unifying bond linking those 8.2 million together.


NYCWe leave the theatre or the museum baffled by the hypotheses proffered by artists and playwrights.  Now, imagine how they must feel in their creative process. They introduce the questions, not the solutions. They’re asking without getting an answer. Curiosity drives them, like the scientist, to use their media as a mode of communication to reach the world. They’re not the select few who have otherworldly contact with the unknown. Artists are essentially those of us who ask louder questions, and more colorfully.

We all know nothing. Art and science make that “nothing” a little less than it was we knew yesterday. But they don’t take us all the way. What would be the point of living and working together if we knew it all? No questions to ask, no problems to solve, no mysteries to reveal—makes for a pretty boring existence and an even more banal theatre-going experience, to be certain.

Art and theatre join forces because of the intense drama shared by both forms. Their proponents ask loud questions, beautiful questions and we marvel at them in the lush darkness of a theatre, not because these are questions beyond our realm of knowledge and understanding.

We marvel because these questions define everything that makes us human.



Reflectant Universe is a work of Angel Orensanz was on view at the Water Museum of Lisbon, Portugal. The Water museum itself was turned into a piece of art. Sculptor Angel Orensanz  transformed the central massive pool of water into a water sculpture by affecting it with video projections of films from the collection of Film and Video Library of  MoMa New York,  (edited by Donna Cameron), and with large sculpture pieces in PVC and neon constructed in Lisbon.

Encircling the central installation was a parade of 18 years of his drawings and paintings that filled the arched space giving guard to the central water piece. The walls o the Water Museum an 18th century architectural landmark supported 12 huge digital tapestries from Orensanz’s “Burning Universe”, first exhibited in Venice during the Biennale of 2003 at palazzo Malipiero and other locations along the Gran Canal.

reflectant universe by Angel Orensanz photo exhibition

Reflectant Universt by Sculptor Angel Orensanz

These structures and elements of The Reflectant Universe: sculpture, video, drawings and painting moved in circles embracing and reflecting over each other in a shimmering superimposition of reflections. Orensanz commented on his way from New York to Portugal:”I have designed this exhibition as a metaphor for a world inverted in itself that reverberates from its unsettled depths all the way up. A world closed, although vibrant in itself “.

 Museum da Agua, Rua do Alviela, 12; Lisboa, Portugal.

Margarida Ruas, Directora

Saint Petersburg Academy of the Arts receives Angel Orensanz

Saint Petersburg Academy of the Arts Kuindji Exhibitions Hall Angel Orensanz (USA-Spain), Member of the Russian Academy of Arts

Exhibit opening. August 1,  3-5 PM

Photo-Art by Angel Orensanz -exhibited at the Saint Petersburg Academy of the Arts

Photo-Art by Angel Orensanz -exhibited at the Saint Petersburg Academy of the Arts

Angel Orensanz is back at the Saint Petersburg Academy of the Arts and has been known for his ambitious landscape and urban installations done in Japan, Russia, USA, Western Europe and other countries. This exhibit in St. Petersburg is very innovative in his intensive creativity.  For the very first time the  artist will present his photographs. Why in Saint Petersburg Academy of the Arts? As Angel Orensanz proudly recognizes his artistic development has been greatly influenced by the giants of Russian Avant-garde as Kazimir Malevich, Vladimir Tatlin and others. All of them lived in Saint Petersburg.

On December 6, 2008 the  Grand Jury of International Film Festival of Monaco  awarded Angel Orensanz the Award for Surrealistic and Non Violent Art for his film “The Final Score” (Angel Orensanz  interpretation of Ingmar Bergman’s legendary  film “The Seventh Seal”)  . This project was carried with script, direction and photography by Angel Orensanz and with the technical support of the staff from the Museum of Modern Art of Wales. It was July 30 of 2007, when Angel Orensanz finished the film shooting of his film. That very day Ingmar Bergman passed away.

Photo-Art by Angel Orensanz -exhibited at the Saint Petersburg Academy of the Arts

Photo-Art by Angel Orensanz -exhibiting at the Saint Petersburg Academy of the Arts

Angel Orensanz and his artistic odyssey.

By Tatiana Borodina, Director of the Repin Museum, Russia.

In my opinion Angel Orensanz is an artist extraordinaire of postmodern thinking.Creativity – inspiration, time, place, and material depend on the circumstances and the mental attitude of the artist. His permanent state of his personality, the creative vision of the world feels like the world is a constantly changing installation, with installation ideas, discoveries, materials and spiritual creation. His mission and the meaning of his existence as an artist, consists in the creation of dramatic art objects, installations, sculptures, paintings and drawings. And in this desire to assert himself as an artist lies the emotional intensity, “nerve” of his works. The creations of Angel Orensanz come always accompanied with such suitable terms as enchantment, expression, inner tension and dynamism.

By and large these works remind us of the inseparable connection of outer space and human spirit, communication manifested, visible, intended to exist for a long time and the uniqueness of the moment of creation. They appear as already created, but temporary….

Angel Orensanz Exhibits at the Saint Petersburg Academy of the Arts

Angel Orensanz recieving the certificate as Member of the Russian Academy of Art – Archive

As a master, with a professional training at the school (Ecole de Beaux-Art, Paris), he keeps in his work of many traditions, including the lessons of Russian avant-garde; and the passion and the expression of this artist’s intense personality are perfectly visible.

Orensanz who is presenting his work at the Saint Petersburg Academy of the Arts, likes to work in a large space, and especially in open landscapes, be on the streets or in the open mountains and seashores. He is a very generous artist and has a powerful and a creative temperament. He is a most innovative creator, literally obsessed with art. He is ready to share with all the result of his enthusiastic passion for creation, the magic of his creation. He loves to decorate nature, and makes it an organized space for the arts. Art in the natural world and in total co-existence is one of the main themes of creativity Orensanz. It’s simple, but conceptually multifaceted. Comparison and interaction of two realities: the art object and landscape protection, their harmony and contrast, ¬the ability of change in the natural forms of the elements – create a new art-reality; and how often expressive, whole and beautiful it is. In his designs, even the most destructive, there is a highly complex symbolic imagery.  Another subject must see, and everyone will see it has his own way, from his point of view.

Materials of his works are: snow, flowers, light fabric, paper…. They are doomed to a short existence. Therefore, the artist captures the creation of the video and photos where they are stored in time – having this way a long life. The graphic works of Orensanz, are perceived as a stream of reflections of the artist.

 This exhibition extends until August 31st,  2013.

There is catalogue that accompanies this exhibition,  with an essay by Tatiana Borodina.

El arte de Angel Orensanz recibe a los visitantes de su Fundación en Nueva York.

Evento de Arte en la Fundacion Angel Orensanz

Evento de Arte en la Fundacion Angel Orensanz

Nueva York, 27 de julio, 20013. Más de mil visitantes entran todos los eventos de la Fundación Angel Orensana  de Nueva York. Desde su comienzo hace más de un cuarto de siglo, un bosque de su esculturas cilíndricas dan la bienvenida en las escaleras de acceso a cuantos visitantes que se acercan allí cada día. Ese pequeño bosque de cuerpos cilíndricos nos traen a la mente visiones tan entrañables e inolvidables de el arte de Angel Orensanz como Holland Park de Londres, Semeretevo en Moscu, el Kreuzberg en Berlin, el Edificio Beatriz de Madrid; Autopistas del Mediterraneo en Barcelona  y  tantos otros sitios emblemáticos. Precisamente fue en el interior de la Fundación de Nueva York donde el fabrico algunas de sus mejores conjuntos de estas obras.  Luego las llevo al Central Park en el Alto Manhattan, y a Atlanta (Georgia), a Venecia, a Sao Paulo en Brasil y tantos otros puntos.

Desde la noche de ayer, el arte de Angel Orensanz, su bosque de metales se añaden ahora dos pantallas incrustadas en sendas ventanas ojivales de la fachada que proyectan sobre y el día y la noche de Nueva York imágenes y video de las instalaciones de Angel Orensanz en tantos lugares enigmáticos de muchos puntos del planeta.

angel Orensanz en el Lower East Side NY

Angel Orensanz a la entrada de su Fundacion en el Lower East Side, New York

La esplendida fachada rojiza del edificio de 1849 se ilumina con las imágenes de video en continua rotación que traen secuencias de tantos lugares  del planeta desde los paneles de video incrustados en ventanales del singular edificio de la Fundación, entre las calles Houston y Stanton. Por un desarrollo natural de este singular barrio del Bajo Manhattan, la vida nocturna más vibrante de Nueva York está pujando  fuerte precisamente aquí. Esta área se está transformando  en una  réplica del Strand de Londres o de la Rive Gauche de Paris, dentro de los niveles civilizados de Nueva York.

La Fundacion Angel Orensanz

La Fundacion Angel Orensanz

Este bosque de pilares escultura acompañan la entrada al edificio y enmarcan dos pantallas de buenas dimensiones y tratamiento especial para el exterior que trasmiten video y películas de la obra de Angel Orensanz, en tantos puntos de los EEUU así como en otros lugares del mundo. Hay secuencias de Roppongi Park en Tokyo, de la Palaza Roja de Moscu, y de las bienales de Basilea, Sao Paulo y Venecia, entre otras procedencias. Ello hace que los numerosos grupos e individuos que diariamente llegan a Norfolk St. consigan una detenida visita de la obra de Angel Orensanz desde el interior y el exterior, de día y noche.

Angel Orensanz arrives to Aldeaduero building an Art Paradise

Building an Art Paradise;The territories of Aldeaduero (Salamanca, Spain) have remained away from the view of the European Continent for thousands of years; and from its industrial development for hundreds of years. Those valleys and mountain ranges have been distant and silent for a very long time. But just now, a group of clairvoyant, local entrepreneurs, in those territories of Salamanca are bringing Aldeaduero to the forefront of the world.

arte y naturaleza - Aldeaduero-art paradise

Art and Nature – Angel Orensanz – An Art Paradise in Aldeaduero

Sculptor Angel Orensanz has worked in water front projects at the waterfalls of Sagadaira (Japan); in large urban parks like Holland Park (London), and the regional train station of Sarria in Barcelona. He built even a sculpture concept very similar to the one of Aldeaduero at the very entrance of his Foundation in New York, in Downtown Manhattan; where a small wood of steel tree trunks welcomes you to his building on Norfolk St.

Sculptor Angel Orensanz, to whom the mountains have been dedicated was recently invited by cultural leaders of these lands in Western Spain. He is helping them in their plans to craft a vision of an art paradise that maintains hundreds of years of tenancy of these lands and is now opening itself to a conscientious postindustrial population.

arte y naturaleza - Aldea Duero- Art paradise

Cylinders at Aldeaduero – Work by Sculptor Angel Orensanz

Angel Orensanz is already at work designing concepts and elements that blend with the skin of the mountains, valleys and riverbanks around Aldeaduero. They serve as land marks in the crests and woodlands. He is building invitational sentries and pathways that excite the old and new visitors. The project is a flexible concept of cooperating and listening, stimulating and provoking new possibilities. His goal is to erect a few structures and ensembles out of observation and connivance, not out of a master plan or an ideology. Angel Orensanz has always been carrying his own internal dialogue with his birth territory in the Spanish Pyrenees, in the border with France.

The main goal is to enrich these lands with three sculpture concepts that Angel Orensanz develops with the support of a group of community leaders and turn it into an Art Paradise. One of his three concepts is a large group of vertical cylinders in concrete. They are no less than 27 units. They are located in several mountains tops and valleys. Angel Orensanz has developed as well a large star in wood with a radius of twelve meters long arms. The third element is a large ship that will not be displayed on the waters of the river Duero but will be accessible on the mountain top of a very high peak.

In a way, there is a similarity with the Park Guell by Antoni Gaudi in Barcelona. Angel Orensanz lived for many years next to Park Guell and other buildings by Gaudi in Barcelona; but the syntax in Aldeaduero is very different. The totality of the open, wild forests, rivers and rock formations are an essential element of the park. The sculptures stress the in-built harmony of these lands. It definitely moves away from the model of the European urban Park, say Hyde Park, or the American model of Central Park.

Arte y Naturaleza – Angel Orensanz llega a Aldeaduero y reconstruye el paraíso

Arte y Naturaleza; Los territorios de Aldeaduero han estado alejados del centro de Europa  durante miles de años; y del desarrollo urbano e industrial  durante cientos de años.   El progreso industrial y la historia cultural europea  fueron construidos lejos de estas tierras. Pero ahora mismo un grupo de clarividentes dirigentes locales de estos territorios del sur de Europa  están llevando Aldeaduero a la atención del  mundo.

arte y naturaleza - Aldeaduero

Art and Nature – Angel Orensanz’s work in Aldeaduero

El escultor Angel Orensanz ha sido invitado por expertos  de estas tierras. Les está ayudando en sus planes de trazar una visión que mantiene los principios de cientos de años de atención a estos montes,  que ahora  se abren a la sociedad posindustrial con una vision de Arte y Naturaleza.

Angel Orensanz está ya trabajando conceptos y elementos  que empalman con la piel de esas montañas, valles y riberas. Sus esculturas de materiales crecidos allí mismo son piedra, madera y cerámica. Sirven de indicadores para las riberas de los ríos. Su meta es erigir estructuras y piezas a partir de la observación y la convivencia;  nunca a partir de un plan estricto  o de una ideología.  Angel Orensanz ha mantenido siempre, desde su primera niñez, un dialogo interno con la naturaleza de los montes y cordilleras, iniciado en sus Pirineos nativos en la frontera con Francia.

arte y naturaleza - Aldea Duero

Cylinders at Aldeaduero – Work by Sculptor Angel Orensanz

Para integrar arte y naturaleza Angel Orensanz juega con tres conceptos principales  que lleva a cabo con el apoyo de los líderes locales de Aldeaduero. Se trata de una serie de cilindros verticales de cemento encofrado; unos 27.  Aparecen poco a poco en cumbres y en valles. Orensanz esta diseñando además una estrella de grandes dimensiones  con radio de doce metros de largo.  El tercer elemento es una barca de grandes dimensiones  que no se mostrara sobre las aguas del rio Duero sino que será visible en una cumbre elevada.

Existe una cierta  similitud con el Parque Guell de Antonio Gaudi en Barcelona, pero con una sintaxis bien diferente. La totalidad de sus bosques son abiertos y salvajes. Aquí los elementos esenciales son las formaciones de bosques, ríos y muros rocosos. Las esculturas simplemente destacan y enfatizan los elementos naturales. Definitivamente, Aldeaduero se mueve por parámetros diferentes a los del parque europeo y también al concepto británico de parque (Holland Park);  conectaría más  con el concepto americano de parque y lo estaría prolongando bien hacia el siglo veintiuno.