Antonio Seguí, RECENT WORKS. Paintings, Sculptures, Prints.

From 23 February to 3 April 2016 - Galerie Claude Lemand

  • Segui, Sculpture, Angelito.

    Angelito, 2011. Original corten steel sculpture, 60 x 47 x 10 cm. Signed and numbered. Edition of 4. Donation Claude & France Lemand. Museum of the Institut du monde arabe, Paris. © Antonio Seguí. Courtesy Galerie Claude Lemand, Paris.

  • Seguí, Pensando mucho.

    Pensando mucho, 1984. Silkscreen, 50 x 70 cm. Signed and numbered. Edition of 100. © Antonio Seguí.

ANTONIO SEGUI, RECENT WORKS. Paintings, Sculptures, Prints.

Edward Lucie-Smith.

(...) Seguí’s work shows not only the nature of his artistic roots in Argentina, but the remark­able orig­i­nality and verve of his own con­tri­bu­tion to Latin American Modernism. One of the true dis­tin­guishing marks of Seguí’s work is its won­derful sense of humour. In the cat­a­logue of an exhi­bi­tion called «À vous de faire l’his­toire», shown in 1998 at «La Maison de l’Amérique Latine» in Paris, he com­ments: «A sense of humour is the only thing that can save us... Yes, I’m for the glob­al­i­sa­tion of humour! In art, too, this is some­thing that can save us. In France, humour is sar­castic, some­times cyn­ical. In Argentina, and above all in Córdoba (the city of Seguí’s birth), which is a city of stu­dents, humour is deri­sive - it deals with the absur­dity of daily life. People will say of someone that he’s "as use¬ess as an ash­tray on a motor-scooter..."».

(...) Meanwhile, how are we to place that Seguí does in the com­plex artistic sit­u­a­tion that now pre­vails at the begin­ning of the 21st cen­tury? Seguí is a vet­eran of 20th cen­tury Modernism, and he is one of the few artists of his gen­er­a­tion (he was born in 1934) who has sur­vived with his rep­u­ta­tion intact and who is still cre­ating work of great orig­i­nality. The reason for this sur­vival is, in my view, his pop­ulism, his keen sense of what is likely to com­mu­ni­cate imme­di­ately with the ordi­nary spec­tator, the prover­bial «man in the street». He is keenly aware of the way in which the sup­pos­edly exper­i­mental avant-garde has in fact been trans­formed into a kind of academy, and he is deter­mined not to be caught in this trap. At the same time, he remains keenly aware of what the orig­inal Modernists achieved, and is not afraid to incor­po­rate some of their dis­cov­eries in his own work.

(Edward Lucie-Smith, in Antonio Seguí, Frissiras Museum, Athens, Greece, 2003).

Copyright © Galerie Claude Lemand 2012.

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