ART in NATURE: Aldeaduero, Spain – Angel Orensanz Territory

Art in Nature and the ‘Orensanz Territory’ – Aldeaduero, Spain

News Update: Angel Orensanz at Aldeaduero, Spain – March 2014

Orensanz Territory - art in nature -Angel Orensanz - NYC - Angel Orensanz Foundation for the Arts

Angel Orensanz with the President of the Council of Salamanca Javier Iglesias at the dedication of the Orensanz Territory.

This past Monday, March 17, 2014, we at the Angel Orensanz Foundation for the Arts celebrated the inauguration of the “art in nature”-focused Orensanz Territory in Aldeaduero, Spain. The distinguished honor was bestowed upon sculptor Angel Orensanz in respect to his commissioned environmental art work in the beautiful regional landscape of the Spanish countryside.

Since the release of this announcement, photo documentation has poured in from the Spanish media coverage of the Aldeaduero region and the Orensanz Territory. Television and Online News reporters swarmed to the artist and the honored guests in attendance for the inauguration which included the President of the Council of Salamanca, Javier Iglesias and the Director of Tourism for Castilla and Leon.

Scroll down for the latest images of this incredibly special event.

Orensanz Territory - art in nature - Angel Orensanz - NYC - Angel Orensanz Foundation for the Arts

Angel Orensanz presents a copy of his book and other publications to President of the Council Javier Iglesias.

Press and honoree Angel Orensanz congregate beneath the artist’s “Mountain Sculpture.”

Orensanz Territory - art in nature -Angel Orensanz - NYC - Angel Orensanz Foundation for the Arts

Gathering of media attendants documenting the inaugural speech at the Orensanz Territory.

Sculptor Orensanz addresses the media in Aldeaduero.

Orensanz Territory - art in nature - Angel Orensanz - NYC - Angel Orensanz Foundation for the Arts

Sculptor Angel Orensanz converses Castilla and Leon TV, under the watchful eyes of the President of the council, Javier Iglesias.

For more information about Territory Orensanz, art in nature, and the artist’s long history with the region of Aldeaduero, Spain, check out the newest Winter 2014 issue of ARTSCAPE Magazine, available now online or in print!

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.

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.

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.

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.

Angel Orensanz’s Sculpture Catalog

The Catalog "The works of Angel Orensanz"
















Throughout his career Angel Orensanz has created a prolific body of work, one he is constantly adding too. His work spans through countless of decades, ones full of sculptures, paintings, installations, and many other pieces of art. To those new to Orensanz it can be a bit mind-boggling trying to keep track of everything he has created and the different styles he has worked in. We’d like to help make that easier though! This newly sculpture catalog offers a vast sampling of Orensanz work, along with brief explanations about how he has created the pieces and the styles he has worked in. The catalogue encompasses his bronzes, paintings, installations, and more! So if you, or maybe a friend, want to learn more about Angel Orensanz, then check our sculpture catalog out!

Spanish Sculptor Angel Orensanz Sculpturing through the world

Spanish Sculptor Angel Orensanz ventured into the world of sculptures early in his life. It was back in 1961, after he finished his studies in the Escuela Superior de Bellas Artes de San Jorge in Barcelona, he did his first big sculptures on the opera Atlátida, at the Gran Teatro del Liceo in the same city.

Spanish SculptorAngel orensanz

Spanish Sculptor Angel orensanz

Seven years later in 68, this Spanish sculptor had his first big international sculpture exhibition in the place he first graduated. But his sculptures did not stay confined inside Spain, Angel Orensanz traveled the world with his talent, exposing in Brazil, Japan, Germany, Italy, Russia and many more.

Works of Spanish Sculptor Angel Orensanz

Works of Spanish Sculptor Angel Orensanz

His talent brought him to one of the art Mecca’s of the world, New York City. Here he opened the Angel Orensanz Foundation. It´s been 20 years since the old building that used to be a synagogue in the Lower East Side had its real opening and in celebration of that, we are reopening our gallery with an exhibition in which Angel Orensanz is the featured artist. We will showcase some of his paintings and drawings along with his new bronze sculptures. So, if you are in NYC, make sure to RSVP in our Facebook in order to see some of the great work of one of the top Spanish sculptor of our times.

Hierarchy is alienating ( artist of the week: Jeff Koons)

Last Wednesday the Angel Orensanz Foundation blog talked about the hour master Christian Marclay, this time, we are showcasing another acclaimed American artist, the master of kitsch.

Born in 1955 in York, Pennsylvania and New York-based Jeff Koons is America’s most famous living artist. The so-called “master of kitsch” is an ambitious perfectionist, he transforms banal items into sumptuous icons, experiments with digital technologies, produces photos in the manner of baroque paintings, and all his finish products have an exquisite appearance.

As he blends concepts of Pop Art, Conceptual Art and Appropriation Art with popular culture, he blurs the lines of “good taste” and makes his own unique iconography, often controversial and always engaging. More than that, his works explore the contemporary obsessions of sex, desire, race, gender, celebrities, media, commerce and fame, as he frames questions about taste and pleasure and shifts the scale of banal items. With that Jeff Koons puts kitsch in the same level as classical art.

“The hierarchy of things is a kind of defense mechanism that just alienates”. – Jeff Koon

His appropriations of our consumerist world and American culture remind us of Marcel Duchamp’s “Readymades” and Andy Warhol (who would complete 84 years this Monday, if he was still alive). His icons are stunning and spectacular and they speak to the society based on the tripod: sex, art and money.

In fact, Jeff Koons wants his art to communicate to everyone, the broader the audience the better, after all for him: ”Art is really just communication of something and the more archetypal it is, the more communicative it is.”

This year, you can see a big part of his collection in the Beyer Foundation in Basel, Switzerland, where an extensive exhibition documents his artistic development over the past thirty years of practice through the lenses of three milestone series: ‘the new’, which showcases Koons’s earliest work, a series of readymade-like appliances and sculptures; ‘banality’, which includes sculptures in porcelain and wood, that take as their subject pop culture icons and Koons‘s most ambitious series to date ‘celebration’, a collection of hyper realistic large-scale stainless steel sculptures.

Also this year Jeff Koons appeared at the Emmy and Peabody Award-winning series The Colbert Report for an interview with Stephen Colbert, the host, writer and executive producer of the show. Colbert synthesizes the American artist, or as he calls him: “The world’s most expensive birthday clown.” popularity very well: “A lot of them (pieces) are shiny, so when I look at them, I can see me, and then I’m interested in it.” Koons replies that they’re shiny for affirmation, to create an experience.

sources: designboom, economist, huffingtonpost, gagosian, pbs