- DARDO, Fundación Dídac
- ISBN 978-84-92772-62-9
- 216 pages
- Softcover, english / spanish
- 23 x 16 x 3 cm
„Irene Grau’s work speaks of painting and landscape, of process and displacement through rigorous research into the possibilities of monochrome painting and its relation to landscape as both genre and framework, but above all as experimentation; as a way of seeing.
Landscape painting that is carried out in the landscape itself preoccupied artists such as Vincent Van Gogh or Paul Cézanne -who might have pioneered a pictorial nomadism of sorts-, but was already an object of study for Courbet, Constable, or Turner. Impressionism was however the first style to work somewhere in between an image and a painting. Whilst Manet managed to get rid of the connection between narrative and spatial depth, Monet abandoned the use of drawing as a way of priming color, dissolving the horizon and blurring the landscape; abandoning the referent. If there is one thing that modern painting aspired to, it was to highlight the materiality of the pigment. Brushstrokes are fragmented, while the areas left empty allow for the brushstrokes to appear in no way final. It is only by looking back that we can guess the origin of, for example, Günther Förg’s last paintings. And it is also through knowledge of the past and of art history that these conceptually parallel projects of Irene Grau’s gain significance and move forward in the contemporary redefinition of the landscape genre, as well as the idea of displacement, a core concept in her art practice.“ – David Barro
Texts by: Ángel Calvo Ulloa, Álvaro Negro, Enrique Vila-Matas, Brett M Levine, Irene Grau.
English and Spanish
Editors: Maus Contemporary, Irene Grau
Design: Dídac Ballester