The exhibition Dibujos germinales. 50 artistas españoles. 1947-1998 provides a general and previously unimagined vision of drawing in Spain during the second half of the twentieth century, through fifty artists from different generations (from Eduardo Chillida to Eva Lootz or from Luis Gordillo to Azucena Vieites). Because it is an extended period and a relatively common practice for most of the authors, there is a need to find a conceptual unity that seeks to convey a general idea and propose a systematic structure. Therefore, in this exhibition drawing does not appear as a technique, rule or discipline, but as a starting point -germination in the strict sense- to delve into the mechanisms of creation and try to go beyond the notion of sketch or preparatory study.
Jordi Colomer (Barcelona, 1962) learns design and Art History before moving on to study architecture in 1986, the year in which his first individual exhibition is held in the Juan Miró Foundation in Barcelona. His first artistic ventures revolve around pictorial abstraction, an approach he gradually leaves behind in favour of sculpture, drawing and collage. In all of his work Colomer establishes the link between objects in space and the three-dimensional role of the materials. Between 1991 and 1995 he lives in Paris, where his architectural resolution of space gains intensity, with references to the domestic environment. From 1996 onwards he works with photography and video.
The exhibition La visión impura (Impure Vision) presents a selection of works recently acquired by the Museo Nacional Centro de Arte Reina Sofía, and does so using the title to highlight the fact that the art produced in the latter part of the 20th century undermines any notion of purely visual art.