Martí Cormand .- Un elefante en El Prado

Martí Cormand - Un elefante en El Prado. 2019. Grafito sobre papel. 34 x 43 cm. Único.
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SALA 1. 1 SALA 1 Martí Cormand - L'Independant. Óleo sobre cartón,papel y madera. 61 x 50,8 cm. Unico Martí Cormand - L'Independant. Óleo sobre cartón,papel y madera. 61 x 50,8 cm. Unico. Detalle SALA 1. 3. MEDIA SALA 1. 4a. MEDIA Martí Cormand - Siempre de canto. 2019. óleo sobre fotografía encontrada. 13 x 9 cm. Único SALA 1. 5a. MEDIA SALA 1. 5b. MEDIA SALA 1. 5c. MEDIA Martí Cormand - Un elefante en el Prado 3. óleosobre fotografía encontrada. 9 x 13 cm. único. SALA 1. 6. MEDIA Martí Cormand - Bengala 1. Óleo sobre papel con base de acrílico. 34 x 23 cm. Unico Martí Cormand - Bengala 2. Óleo sobre papel con base de acrílico. 34 x 23 cm. Unico Martí Cormand - Bengala 3. Óleo sobre papel con base de acrílico. 34 x 23 cm. Unico Martí Cormand - Bengala 4. 2019Óleo sobre papel con base de acrílico. 34 x 23 cm. Unico Martí Cormand - Bengala 5. Óleo sobre papel con base de acrílico. 34 x 23 cm. Unico SALA 2. 1a. MEDIA SALA 2. 6. MEDIA Martí Cormand - Pedestal con busto. 2019. Óleo sobre tabla de madera. 25 x 20  cm. Único. Martí Cormand - Bengala 7.  óleo sobre lienzo. 152 x 110 cm. Único SALA 2. 2a. MEDIA Martí Cormand - Ernst Barlach’s “ Die Flamme, 1934. 2017. Óleo sobre cartón,montado sobre madera. 18 x 13 cm. Único Martí Cormand - Farbige Aufteilung (1928)", Piet Mondrian. Location unknown, num3. 2017. óleo sobre cartón,montado sobre madera. 18 x 13 cm. Único Martí Cormand - Figura flotante. 2019. Óleo sobre cartón,montado sobre madera. 19,5 x 14 cm. Único Martí Cormand - Otto Baum’s “Stehendes Maedchen, 1930. 2019. Óleo sobre cartón,montado sobre madera. 26,5 x 14,5 cm. Único SALA 2. 4. MEDIA Martí Cormand - Otto Freundlich Composition 1935-37. 2017. Óleo sobre cartón, montado sobre madera. 18 x 13 cm. Único Martí Cormand - Paul Klee’s “Blühendes 1934. 2019. óleo sobre cartón, montado sobre madera. 17,7 x 16 cm. Único Martí Cormand - Portrait of actress Anni Mewes,1917/1921 byEdwin Scharll. Entartete Kunst num. 4. 2019. Óleo sobre cartón, montado sobre madera. 25 x 20,5 cm. Único Martí Cormand - Rudolf Belling,”Female Head, 1925” num 6. 2017. Óleo sobre cartón, montado sobre madera. 18 x 13 cm. Único Martí Cormand - Unknown 10. 2016. Óleo sobre cartón, montado sobre madera. 18 x 13 cm. Único SALA 2. 5. MEDIA Martí Cormand - Leaning head, JG, num 2. 2019. Óleo sobre cartón, montado sobre madera. 20,5 x 17,5 cm. Único Martí Cormand - Mangbetu anthropomorphic bark box. 2015. Óleo sobre cartón, montado sobre madera. 18 x 13 cm. Único Martí Cormand - Busto. 2019. Grafito sobre papel, montado sobre madera. 22 x 16 cm. Único Martí Cormand - Cabeza gris. 2019. Óleo sobre cartón,montado sobre madera. 20 x 15 cm. Único Martí Cormand - Artemis Diana alabaster sculpture statue bust ancient Greek goddess of hunt. 2015. 18 x 13 cm. Único Martí Cormand - Desconocido 1. 2019. óleo sobre cartón,montado sobre madera. 15 x 23 cm. Único SALA 3. 1. MEDIA Martí Cormand - San Juan Bautista.2019. Grafitop sobre papel. 15 x 26,3 cm. Único Martí Cormand - Head, JG, num2.  Óleo sobre liezo 50,8 x 40,6 cm. Único SALA 3. 6. MEDIA SALA 3. 7. MEDIA Martí Cormand - Afrodita y Eros. 2019. óleo sobre cubierta de libro. 24 x 16 cm c/u. Único SALA 3. 3. MEDIA SALA 3. 5. MEDIA Martí Cormand - Waiting. Óleo sobre madera y estante. 2019. 30,5 x 23 cm (estantería 122 cm)Único Martí Cormand - Un elefante en el Prado 4. Arcilla pintada al óleo. 15 x 15 x 6 cm. Unico

Espacio Mínimo gallery is pleased to present the first solo exhibition of New York-based artist MARTÍ CORMAND at the gallery. The exhibition, entitled Un elefante en El Prado (An Elephant in the Prado), is a project created expressly for the gallery and includes work which demonstrates, as Michael Wilson wrote in ArtForum in October 2016, The impulse to document and preserve grinds against not only the violence of history, but also the poverty of memory—personal, institutional, and societal—itself.

As Cormand explains: The title comes from an article by Peio H. Riaño published on December 10, 2017 in “El Español” where one of the most fascinating and unpublished scenes of the Civil War is explained: the shipment of almost a hundred showcases from the Museum of Natural Sciences to The Prado museum. Among other animals there was an elephant, the only one that did not have a crate. The Republic government decided that the Prado was the best place to protect the funds of other museums. The Ministry appointed the Prado as the ideal refuge, although its paintings had moved prior due to lack of security. A week before the bombing, the Museum emptied itself of thousands of paintings that were transported to Valencia, and then to Geneva, via Figueras. The transfer was orchestrated by Josep Renau.


At the same time in 1937, the Nazis organized an exhibition of what they considered “degenerate art” (Entartete Kunst) curated by Adolf Ziegler, Hitler’s favorite painter. The show opened on July 19th and remained until November 30th. Through the halls of the Archeology Institute of Munich about 600 works were presented by artists whose legacy is nowadays indisputable: Marc Chagall, Wassily Kandinsky, Paul Klee, Oskar Kokoschka, George Grosz, Emil Nolde and Ernst Ludwig Kirchner, among other masters of the modernism. In the 1930s though these works aroused controversy not only in Germany, their value was already recognized in major capitals of the world. Taking advantage of this situation, the Nazis sold most of them in the international art market; 1,004 paintings and 3,825 engravings of those that could not be detached were burned in 1939.

The title ​​”An elephant in the Prado” suggests the English expression “an elephant in the room“ which refers to an obvious truth that is ignored or goes unnoticed. It also applies to an easily understoodproblem or risk that no one wants to discuss. Badly solved issues of the past return, and come to light in the present, to be inevitably discussed.

Cormand’s work attests to the coalescence of time, or rather, of an intangible past that can only be grasped in the present through intuition. According to the artist, our present reaffirms the concept of an “eternal return,” the idea that our existence is cyclical in nature instead of linear. These images also become a byproduct of entangled temporality in cyberspace, where Cormand often derives his source material.

 

MARTÍ CORMAND (Barcelona, 1970), lives and works in New York where he exhibitis regulary, at Josée Bienvenue Gallery since 2003. He had solo shows at institutions such us: Martí Cormand: Aldrich Emerging Artist Award Show, Aldrich Contemporary Art Museum, Ridgefield, CT (2007) or the Arranz-Bravo Fundation, Hospitalet de Llobregat, Barcelona, SP (2010); like group shows we can highlight DRAWING IN THE 21st CENTURY, Kunsthalle Galapagos, Brooklyn, NY (2012); Really?, comisariada por  Beth Rudin DeWoody, Wilding Cran Gallery, Los Angeles, CA (2017); Walk the Distance and Slow Down: Selections from the Collection of JoAnn Gonzalez Hickey, Boulder Museum of Contemporary Art, CO (2017);  False Documents and Other Illustrations, Portland Museum of Art, ME (2010-2011); The Fifth Genre: Considering the Contemporary Still Life, Galerie Lelong, New York (2010);  Aclimations, Villa Arson, Nice (2006); 24 planes per second (with Piot Brehmer), 123 Watts Gallery, New York, NY (2000); Drawings from the Collection, Fundación ICO, comisariada por Pablo Llorca, Madrid, ES
 (1999)…

 His works are represented, among other important collecitions at The Museum of Modern Art (MOMA), New York;  The Dallas Museum of Art, Dallas TX; The Alfond Collection of Contemporary Art at Rollins College, Winter Park, FL; Caja Madrid, Madrid ES; Fundacio La Caixa, Barcelona, ES; Fundacio Vila Casas, Barcelona, ES; Progressive Corporation, Mayfield Village, OH; West Collection, Philadelphia, PA; Jorge Pérez Collection, Miami FL…