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José María Moreno Galván. Self-criticism of art.

Readings Meetings
Domínguez Santos
20/04/2011

In a splendid

illustrated edition, Barataria recovers Autocrítica art of José María Moreno Galván (1923-1981), a series of essays critical of the then Triunfo published in 1965 and which together are a rigorous analysis and depth of contemporary art, an inquiry into the aesthetic and ideological abstraction and aformalismo ( expressiveness absolutely freed from the bench of the form. )

The dialectic between old and new art , between form and meaning, the terrorism of the early avant-garde, conflict between art and life, between history and art as mutable and significant fact, are part of a research issue in contemporary art, which is more than an extension of the art of the past: a project to reverse the action of his office, a subversion of its fundamental precepts, an attempted to overthrow their assumptions and punitive action against its raison d'etre.

The cultural, historical, sociological explaining contemporary art as an identity crisis of the West, the new meaning it acquires in the form and ideological foundation that supports it are the subject of a tour detailed in the chapters of this Self-criticism of art.

A book describing the role of abstraction in contemporary art, anti-historical attitude, which moves between two expressive subversion, rebellion and defiance irrational anti social and institutional, and evolves from the Expressionism to the informality through the ideology of the absurd.

form and substance, time and space, art and society, abstraction and concretion are some of the key analytical and logical with Moreno Galván defines expressive and ideological paths contemporary art, which is more significant regarding Picasso, to whom he dedicated one of its most interesting sections and critic who summarizes the creative features and contradictions of contemporary art.

After

put Picasso in the center of the struggle between abstraction and representation, Moreno Galván writes:

Picasso

We have identified more than any other artist of the twentieth century because he takes the story of his age.

The chapter on Picasso is a critical light on the meaning of creation in contemporary art. And the rest of this Self-criticism of art, rigorous and dense, is a very lucid description not only of art but in literature and contemporary culture.