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BBVA Collection Spain
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Alberto Corazón
(Madrid, 1942 - 2021)
The Poet’s Home
2007
Iron, signed and numbered (82/100)
42 x 12 x 12 cm
Inv. no. 36036
The importance of Corazón for the modernisation of the visual image of Spain’s large corporations and institutions since the period of the country’s transition to democracy should not overshadow his key role as a pioneer in
Conceptual Art
Conceptual Art emerged as a movement in the 1960s in the United States, with Marcel Duchamp (1887-1968) often regarded as a key forerunner or influence. Chief among the movement’s artists are Sol LeWitt (1928-2007), Joseph Kosuth (1945), Joseph Beuys (1921-1986) and Yoko Ono (1933). It came into being in opposition to formalism, to define a number of different practices in which the underlying idea and process behind the artwork were more important than its materialisation, meaning that conceptual artworks may take on the most varied guises.
in Spain. Just like his graphic work, his art practice was defined by transversality and experimentation, often making use of interdisciplinary knowledge and mundane imagery.
His earlier conceptual works from the 1970s explore images and icons culled from the mass media, as well as their messages and supports (stills, negatives, printing processes). After interrupting his art practice in the 1980s to focus on his designing activity, in the 1990s Corazón returned to painting and sculpture.
Corazón addressed his work as an artist-designer with an attitude that recalls a surveyor measuring land. His drawing project
Cuaderno del nómada
(The Nomad’s Notebook, 1993) marked the start of a creative quest that triggered a reflection on the signs that travellers find along their journey: mundane everyday objects in which Corazón discovers something worthy of becoming an icon and, with it, an element that can articulate reality.
The suggestive iconography of Corazón’s language is clearly visible in his sculpture from 2007
The Poet’s Home
. The symbolic objecthood of his practice conveys a liking for literature, timelessness and proximity bordering on
Found Object Art
Found Object art is the name for artworks created using natural or industrial objects which are not made by the artist. The objects may be found or purchased, and accrue their status as artworks through the intervention or alteration of an artist, or by being placed at the centre of their reflection. With his readymades, Marcel Duchamp (1887-1968) was a forerunner of found object art. Likewise, in many of his works Joan Miró (1893-1983) also used objects that he had picked up on his walks along the beach.
. Poetry and a creative exploration of signs and archetypes converge in this delicate house balanced on three pillars. The result is a work that functions like visual poetry.
The iron sculpture was cast from a mould used for an edition of one hundred. The work is accompanied by this brief reflection:
The work of art has no explanation.
It feeds off references alone.
The Poet’s Home
speaks of an archetype firmly anchored in our psyche: home is the place where our soul resides, a space of intimate harmony, a refuge in often incomprehensible surroundings.
Is this home built on land?
on water?
And it does so, as could not be otherwise,
Illogically.
Alberto Corazón
Artworks by this author
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