by Ángel Guinda for Vicente Pascual "Las
100 Vistas del Monte Interior, en recuerdo de los antiguos locos"
catalogue at the
/ Fundación Beulas, [see
DF catalogue interior, PDF catalogue exterior], Huesca 2006.
"Las 100 vistas del Monte Interior / En recuerdo de los antiguos
locos", is a Vicente Pascual book with 101 project-specific
drawings accompanied by short verses writen by the author. Published
by the Government of Aragón in collaboration with the CDAN/Fundación
Beulas, Huesca, and Olifante,
Ediciones de Poesía.
The Luxury of Simplicity
Barely 40 years after Edward
Kienholz coined the term ‘conceptual art’ and
LeWitt formulated the movement’s first theoretical thesis,
Vicente Pascual offers us a much-awaited gift for our eyes, intelligence,
sensitivity and culture. And he does so after having dared, in
the course of an increasingly productive and perfection-obsessed
career, to tear space (and time) in order to see beyond.
After overcoming the linguistic-tautological
aspect of conceptualism, distancing himself from the object, and
having assimilated a certain factual or mental approach with respect
to images and perception, he has opted to pursue a direction oriented
by a tendency towards mysticism, linked to Platonic thought and
certain initiation processes that involve a maximum degree of
existential subjectivism and complicity with intellectual objectivity.
"Las 100 vistas del Monte Interior"
(The 100 Views of the Inner Mount) is a masterpiece painted by
secret poet and written by an exemplary painter.The work as a
whole is utterly restrained and in an exquisite style in terms
of the way it pursues, expresses and communicates extreme beauty;
a silent canticle of the most fecund and spiritual serenity; active
stillness, intimate restlessness; dark space illuminated by the
mystery that is the reality of the idea; colour as the hands of
an interior light.
Pascual’s work is an
in-depth investigation of core issues and is aimed at re-humanising
a world that is out of balance and numbed. It is an attempt to
move towards tolerance (or even attraction) between nature and
art, towards the harmonious coexistence of opposed strengths and
weaknesses, as if it were still possible to rebuild an awareness
laid low by the ruins it has brought about, and prevent the final
collapse of our civilisation as a result of its having regarded
everything superfluous as necessary because everything necessary
has been seen as superfluous.
We find ourselves before the ineffable (as timely as it is dramatic),
a historic event: proof that the price of an undying work of art
is a life.
Ángel Guinda, Madrid,
© Ángel Guinda, 2006. © For the images: Vicente Pascual