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The Maze of Cristina Iglesias at Fondazione Arnaldo Pomodoro

  • 30

    September 2009
  • 07

    February 2010
Pomodoro Foundation, Milan  

In the wake of Magdalena Abakanowicz's exhibition, another great female artist has stepped forward to expand the horizons of sculpture with a series of works conceived as a provocative invasion of space. Cristina Iglesias (born in San Sebastián, Spain, 1956), a veteran of numerous high-profile international shows, is holding her first solo exhibition in Italy at Milan's Fondazione Arnaldo Pomodoro. Comprised of 19 large-scale works, the show will be open from September 30, 2009, to February 7, 2010. The artist has created an immense labyrinth that generates an intriguingly natural experience within the context of the Fondazione's recycled industrial building.


One of the most original voices in contemporary sculpture today, Iglesias utilizes a dialectic of opposing stimuli and is revitalizing the Arte Povera movement (literally, "poor art"), which employs simple forms and everyday materials of both organic and industrial origin. Her work combines an interest in form, object and material inherited from the entire history of sculpture, with particularly strong roots in the baroque tradition, where the boundary between illusion and reality disappears. Iglesias has represented Spain twice at the Venice Biennale, in 1986 and 1993. A key figure on the international scene for several decades, she has held solo shows in numerous prestigious European and American venues, including the Ludwig Museum in Cologne, the Whitechapel Gallery in London, the Museo Reina Sofia in Madrid, and the Guggenheim Museums in Bilbao and New York.


Her latest show is curated by Gloria Moure Cao and can be found at Via Solari 35, where the Fondazione Arnaldo Pomodoro has created a lively center for the cultural and artistic life of Milan. Much more than a simple archive dedicated to the work of Maestro Pomodoro, the Fondazione aims to be a cross-disciplinary laboratory for the artistic community, promoting both social unity and constructive debate. Since the opening of the new exhibition space, the Fondazione has become one of UniCredit Group's most valued partners and a true "house of culture," fostering cooperation across a broad range of goals, projects, training programs and new initiatives in the field of visual arts.


On this occasion, the Spanish artist is presenting works drawn both from her personal collection and from public and private collections, including Madrid's Reina Sofia, the Fundacion la Caixa in Barcelona and the Museum of Modern Art in New York, as well as recent pieces and works created expressly for this show. The aim of the exhibition is to suggest a large maze that visits the concept of "house," both as a constructed environment to live in and occupy, and as a space full of ancient associations and magical implications.


While oriented to emphasize its clear emotional impact, the show is also conceived as a meditation on the conceptual evolution of sculpture as a discipline. It thereby maintains continuity with the preceding exhibition of works by Magdalena Abakanowicz. In common with Abakanowicz, Iglesias is not just a great artist, but an interpreter of the political and social contradictions of our time, as well as a commentator on the human condition and our relationship with the global ecosystem.



(picture: Cristina Iglesias, Corredor Suspendido I, 2006) 




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