Miami Art and Design: Miami Welcomes Sculptor Angel Orensanz

Miami Art and Design 2014: 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.
Miami Art and Design - Angel Orensanz Foundation 20134

In the Steps of Gargallo: Figurative Monuments in Metal Sculpture

In the Steps of Gargallo: Figurative Monuments in Metal Sculpture  

By: Al Orensanz, PhD., Director - Angel Orensanz Foundation for the Arts  

Abstract or figurative? This was the disjunction with which all the artists of the time were faced, and even though pictorial modernity in Spain had for some time already been inclined to informalism, sculpture artist Angel Orensanz followed the cautious steps of his admired Pablo Gargallo and Julio González, and those of so many other more recent sculptors that also vacillated between the abstract or figurative.

This was especially true if such artists aspired to dedicate themselves to monumental sculpture, since this type of commission is almost always given by the authorities, who in the Spain of that time were not as open and modern as some more advanced private or corporate patrons.

sculpture - Angel Orensanz

Monumento a la Jacetania. Ángel Orensanz. Monumental sculpture. 1969.

It is thus not at all surprising that it was for a private collector, owner of a sculpture park in Bellaterra (Barcelona), that the first totally abstract exempt monument erected by Angel Orensanz emerged in 1969: a menhir of 7 meters in height which he executed in two blocks of stone, working by carving directly into grooves and irregularities, which this time were not reserved only to the upper parts, but also extended throughout the lower parts.

sculpture - Angel Orensanz

“Monumenta a la Jota” – Angel Orensanz. Sculpture. 1970. Spain.

In contrast, on September 25, 1970, feast day of the patron saint of the village, Angel ORensanz inaugurated in Albalate del Arzobispo (Teruel) his Monumento a la Jota (Monument to the Jota), in which for a change the abstract geometries remained confined to a tall poured-cement podium.

This serves simultaneously as a backdrop for the ground level statue of a well-built singer of jotas, and as a podium on which are raised those of a pair of young dancers: they are once again hieratic figures —something striking in the representation of joteros, even though the dance of Albalete is known for its grace.   They are formed of geometric planes, like those of the Saragossan monuments to the Mother and to Tío Jorge; but this time Orensanz uses for the first time cut and welded steel plates, marking out planes and hollows in a style derivative of the cubism which was so widespread in the Spain of the transition and the start of democracy, one of whose most tenacious exponents would be the Aragonese José Gonzalvo. This said, the model for this solemn mastery in the evocation of volume based on plates and striking hollows was none other than Pablo Gargallo, Aragonese sculptor well known to Orensanz, since he had dedicated to Gargallo,

sculpture - Angel Orensanz - Pablo Gargallo

“The Great Prophet.” 1933 (bronze) – Pablo Gargallo. Sculpture.

We can say that Gargallo’s splendid Gran Profeta (Great Prophet) has, as adopted sons, two colossi of imposing beards and manes made by Angel Orensanz for the cities of Jaca and Monzón.   The Monumento a la Jacetania (Monument to the Lands of Jaca), raised in 1969 in the square of Biscós in Jaca, is a gigantic titan 7 meters in height and more than two tons in weight, which represents in concrete and steel a pilgrim of the Road to Santiago. The figure’s facial expression shares the limelight with a model of the cloister of the monastery of San Juan de la Peña carried in an offertory gesture with arms outstretched, also in steel. In the lower part, below an oculum of Romanesque reminiscences, the pillars that evoke his body have on each side of a split which represents the Aragon river crosssing the Jacetania in vertical alignment, four sculptural vignettes decorated with fired-enamel gold paint, in which are paid homage other typical elements of the region.

sculpture - Angel Orensanz

“Monumento a la Jacetania.” Sculpture. Angel Orensanz.

These include the Holy Grail of San Juan de la Peña, the Cathedral of Jaca, The Book of La Cadena and musical instruments—and also a modern industry as well as an skier (of which he also made a larger version, with welded iron plates, which has been in the exhibition Los Orensanz de Orensanz).

sculpture - Angel Orensanz

“Monumento a Joaquín.” Costa Monzón, Huesca, Spain. Angel Orensanz. Sculpture. 1978.

His Monumento a Joaquín Costa (Monument to Joaquín Costa) in his native city of Monzón is also colossal: in this case the homage to Gargallo’s largest and most well known sculpture is even more evident, since the celebrated deputy raises his arms like a prophet preaching. This imagery is not typical in any picture of Costa, but is very appropriate for the staging of the “Grito del Agua”, when every September 14th social groups of all kinds gather before the monument in homage to the great apostle of regeneration and irrigation. His strange gesticulating figure in plates of enameled steel presides over the Avenue of Lérida from a podium of coffered concrete, before some pillars, also of concrete, which serve as a visual backdrop on the other side of the fountain.

Once again then, a very stage-like composition in two parts, like in the monuments to Tío Jorge and the Jota, although the style here is already very different, much more abstract than figurative, since it is of much later date, for it was inaugurated by the local authorities on September 21, 1978, as is stated on the identifying plaque. This same plaque alludes to the financing of the work by CAMPZAR, a savings entity which a few years later would place works by Ángel Orensanz in front of their Saragossa headquarters.

Verbal Communication and the Art of Conversation.

What is verbal communication?

by: Al Orensanz, DirectorThe Angel Orensanz Foundation for the Arts

Angel Orensanz - The Language of Fire - what is verbal communication

From Angel Orensanz’s The Language of Fire – what is verbal communication? It’s the same as the dialogue between an artist and his medium.

What is verbal communication?Conversation exists as a link between diverse minds, characters and perspectives. The immediate participants are the speakers, each equipped with a specific set of languages, registers, labels and linguistic codes.

For verbal communication  to transpire, it requires a gathering of multiple, individual minds.

These include first and foremost the minds of the main participants, but might also include some silent, distant contributors incorporated through references, quotations, pictures, video, digital background and other forms of participation. Such stimuli—TV stories and imageries that burst from the depths of distant memories—can trigger points of conversation simply by association.  That way, the verbal communication and conversation becomes multiple in the sense that interactions occur not only between the interlocutors involved, but between the environment of the room, of the urban landscape, or the countryside, which slips into and colors the content of what is being said and introduced.

There is no such thing as a spontaneous conversation.

Angel Orensanz - What is verbal communication - The Language of Fire

Selection of photo art from Angel Orensanz’s LANGUAGE OF FIRE.

We are not inventing our language as we speak; language pre-exists all our encounters. Our words and sentences were formulated, coined and exchanged long before the moment of communication. In addition, conversation does not occur in a void or in vacuum.

what is verbal communication?

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

Every sentence we might think to organize has been uttered and reformulated countless times before for a variety of contexts and goals. Such previous verbal incarnations provides the key to our understanding of statements uttered in any language or in any script, once the morphology has been detected and reconstructed.

Love TEDTalks? So do we. Check out this video about by Steven Pinker: What our Language Habits Reveal – What is verbal communication?

Angel Orensanz - what is verbal communication? - Light Matter

From Angel Orensanz’s LIGHT MATTER. What is verbal communication? An interplay between the participant and his environment, much like Angel Orensanz’s interaction with physical space in his art.

Conversation is always creative and innovative. It determines the pathways of our mind and the formulation of our sentences. It measures the appropriateness of questions and their answers, of statements and the silence of a gesture, of the accents of formulation and the position of the speaker.

The ingenuity of conversation allows us to process several lines of thought coming from multiple different speakers simultaneously. Despite the crowded environment of numerous strains of verbal communication, we are able to register one main line of discourse, towards which the various lateral and collateral observations are ascribed and formulated.

Angel Orensanz - The Language of Fire - What is verbal communication

What is verbal communication? “There is no such thing as a spontaneous conversation.” Angel Orensanz’s The Language of Fire

In a dialogue with multiple participants, it becomes the most clear it is the logos, the verbal communication, the language that first and foremost prevails and manifests itself. In the course of our inevitable departure from the original pathways of conversation, conflicting lines of thought and perception are constantly re-assembled. Therefore, the internal plurality of all truth becomes patent and operative. It becomes truly dialogue.

The spaces as extensions of the self.

The spaces as extensions of the self.

By Al Orensanz

photograph  by Angel Orenasnz - The self and Spaces

Angel Oresanz – The Self and Space

From the ancient times to the present, man has affirmed the self  or himself. Man has externalized himself and built himself as a beneficiary of architecture and a contending force with buildings and architecture. It seems that the building formalized a set of tasks that manifest the extensions of the human self into the surrounding environment.

The first “construction” was the adaptation of the surrounding materials both for protection from the environment and for affirmation of the self. The indoors is where the thought and the dialogue grew into self-introspection and organization from an intractable and uncontrollable surrounding. The interior space helped defined the proper proportions of the individual and of the group.

Photo-Art by Angel Orensanz

Photo-Art by Angel Orensanz

The indoors established the dialogue and the community. It established the individuality, the memory and the authority. Outside of the entrance laid out the borderless, the cosmic, the dangerous and the seasonal. From then on there was space and a time for laying down the foundations of society, of dialogue, of social order, of exchange, memory and of leisure. The caves are the oldest surviving records of human communication and memory; and the paradigm of the earliest forms of community and social order.

Art Installation by Angel Orensanz

Art Installation by Angel Orensanz – The Self and the Space

From Altamira to Lascaux the human experience has moved by leaps and bounds towards more and more sophisticated forms of separation from the surrounding brutality and chaos and moved into  propitious expanses propitious to dialogue and   group communications.

In another step forward, the cave propitiated self-inspection and introspection. It propitiated as well the beginnings of writing and painting and other levels of communication.

Angel Orensanz has done different installations about this subject matter that  seduces mankind since it’s origins. The communication with the self, with our inner most trough the surrounding spaces we created or spaces mother nature provides for us.

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 escultor Angel Orensanz entra en la Plaza Tahrir de el Cairo

Precedido por un águila gigante y a caballo de un imaginario rocinante, Angel Orensanz ha entrado  en la Plaza Tahrir  de El Cairo.  Es una entrada conceptual, pero intensa y penetrante. El escultor español trata de adherirse y liderar una serie de marchas reivindicativas y transformadoras. Durante más de un ano estos movimientos populares están transformando la faz de todo el mundo árabe. Para ello Orensanz ha creado una enigmática águila que extiende sus alas protectoras y estimulantes.

Angel Orensanz art views of  Plaza Tahrir

Angel Orensanz art views on Plaza Tahrir revolts

Ahora mismo, esta águila la ha posado Orensanz sobre la Plaza Tahrir en el centro de El Cairo sobre docenas de miles de personas que piden y cantan la libertad popular.

Este concepto lo está plasmando Angel Orensanz en dibujos y fotos que van cubriendo un área de su museo en el corazón del Bajo Manhattan, donde radica su  Fundación. Allí serán visibles estas figuras vinculadas a ciudades y países que ha visto aparecer la Primavera Arabe.

La Fundación Angel  Orensanz de Nueva York prepara con esta documentación un libro que estará disponible para el mes de septiembre actual, en inglés, español y árabe y para distribución internacional.

The Titanic That Never Arrived To New York – Angel Orensanz

This is a very conceptual and beautiful art work by Angel Orensanz in New York on the Unsinkable Ship, The Titanic.

 

The Titanic that never arrived to NY is a series of interpretations and sculptorical reconstructions carried in New York by sculptor Angel Orensanz of a world iconic tragedy. It has captivated Ireland, Great Britain and the US with its tragic narrative of Homeric proportions. It is a world event, a cogent narrative, and constantly referenced within art. Over the last 4 years Angel Orensanz has developed an ongoing visual narrative about this iconic tragedy.Several passengers of the ill fated vessel were associated with our building. As a matter of fact, a couple depicted in James Cameron’s film as drowning  by the rising tide in their chamber were members of our community of Norfolk St. in Manhattan. But what has made Angel Orensanz come back again and again to the subject matter is the powerful narrative that music, theatre, the text, the photography, and the films have built across the generations.  Nothing so compelling since the Greek classics has been written about perpetual fight between nature, human progress and catastrophe. The Greek and Roman writers and sculptors selected current episodes and made them into dramas of universal appeal.Over the course of two years Angel Orensanz used for long periods of time the dramatic spaces of his Foundation building in Lower Manhattan installing and readjusting landscapes of color fabrics and theatrical lights, smoke and water to build narratives of this episode that portray the colossal fight between humans, machines, and nature.

The Titanic that Never Arrived- by Angel Orensanz

The Titanic that Never Arrived- by Angel Orensanz

The exhibition has been installed and is visited by hundreds of people who explore the areas of the Museum that function on the Foundation’s higher floors. From its wide windows you can see the East River shores, what used to be the Port of New York and where the Titanic was expected to dock.  Japanese Television got wind of this installation and taped the sculptural construction, making it into a cogent documentary that broadcast to all of Japan live on TV. The tape is available for free from the Foundation and is 10 minutes long.

White Paradise (William Forsythe)

Today the Angel Orensanz Foundation blog is going to talk about a rather fascinating installation that has traveled to numerous places around the globe!
Scattered Crowd by artist, dancer, and choreographer William Forsythe is made up of thousands of white balloons suspended and scattered throughout “galleries, museums, banks and other architecturally significant spaces”.  For guests it is like walking in a sea of whiteness, perhaps even a metaphorical heaven. The art installation also has an audio side to it, which is suiting as Forsythe also choreographs his own ensemble, The Forsythe Company. The accompanying music, by Ekkehard Ehlers, creates a sense of serenity – even adding to that feeling of walking through a metaphorical heaven made up of white balloons .It is an unforgetable interactive art expirience.

Forsythe was born in New York, and he first began his career in art as a dancer, being formally trained in Florida and working with the Joffrey Ballet and Stuttgart Ballet. As he continued to excel and choreograph for the Stuttgart he began teaching at the Ballet Frankfurt until it’s closing, when he established his own company. His dance choreography has since expanded, and he has been commissioned on many occasions to “produce architectural and performance installations” much like his Scattered Crowd, which premiered on March 15th, 2002 in Frankfurt, Messe, Halle 7.

Christo and Jeanne-Claude

Today the Angel Orensanz Foundation pays homage to another comtemporary artist, well not just one, this time we are presenting a couple. Christo Vladimirov Javacheff was born in June 13, 1935 in Bulgaria, the same date Jeanne-Claude Denat de Guillebon was born in Marocco. They met for the first time in her country in 1958, married and dedicated their lives to environmental works of art. A field many times explored by Angel Orensanz.

Their work is visually stunning and often controversial as a result of its scale, but the artists have repeatedly denied that their projects contain any deeper meaning than their immediate aesthetic impact. The purpose of their art, they contend, is simply to create works of art or joy and beauty and to create new ways of seeing familiar landscapes.

“I am an artist, and I have to have courage … Do you know that I don’t have any artworks that exist? They all go away when they’re finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain.”–Christo

 

 

“We want to create works of art of joy and beauty, which we will build because we believe it will be beautiful,” “The only way to see it is to build it. Like every artist, every true artist, we create them for us.” — Jeanne-Claude

Unfortunately Christo´s muse Jeanne-Claude died in August due to a brain aneurism, but he is continuing with their projects and finishing the details for The Mastaba, a project for Abu Dhabi, United Arab Emirates that will be Christo and Jeanne-Claude’s greatest achievement and only permanent large-scale work, in addition to being the biggest sculpture in the world and one of the most significant creations in history.

The couple, in fact, created stunning and remarkable works thought their history, such as the wrapping of the Pont Neuf in Paris and the Reichstag in Berlin and the installation of 7,503 vinyl gates with saffron-colored nylon panels in New York City´s Central Park, the 18-foot-high, 24-mile-long “Running Fence” in California and “Surrounded Islands” in which the couple installed giant lily pad-like structures in Florida’s Biscayne Bay with 6.4 million square feet of bright-pink fabric.

sources: nytimes, wsj, christojeanneclaud

Burning Bronzes

Angel Orensanz started his path into the art world in Larués, Aragón, Spain – a region that now holds a museum with his name, as well as many of his creations. However, he decided he wanted to take to the world and knew that New York City was the right place to begin his journey. He arrived here in 1986 and debuted with the exhibition Spirit of the Village, a temporary installation at Sixth Avenue and Bleecker Street on the famous Washington Square in New York City. But, even before that he contributed with the arts in New York City, with his spheres and manifestations in Central Park, and Studio 54.
angelorensanz_angelorensanzfoundation_newyorkcity_pierrerestany
In 1988 the Angel Orensanz Foundation, Center for the Arts was inaugurated on Norfolk Street, in the Lower East Side of NYC. The renovated synagogue helped to bring a new light to the neighborhood, hosting different art events as well as boosting the New York Art Scene. The Foundation has become a place to celebrate the Arts in New York City drawing in artists from all over the world and also serves as a base for Angel Orensanz´s creations.
newyorkcity_angelorensanz_centralpark
This wasn’t enough for Angel Orensanz though. He could never stay in just one place, leading him to travel the world with his creations. Stopping in Japan, Estonia, Italy, Germany, Russia, and of course his home country Spain, among many other countries.
It has been 24 years since the Foundation was inaugurated. As such many things have changed in the Lower East Side. There have been many artistic events hosted in the Foundation and there have been changes in Angel Orensanz´s style, but now both reunite again. This year the Angel Orensanz Foundation is celebrating its creator with the exhibition Burning Bronzes. The reopening of our art gallery will feature new works in Bronze, paintings and drawings by the Spanish Master.