MALAGA.- The Museo Picasso Málaga has invited Sevillian-born artist Curro González to give his views on The Echo of Picasso exhibition.

For an activity entitled Resonances, the museum’s galleries will be a meeting place and host a discussion on Pablo Picasso’s work and its repercussions on contemporary art. Through a guided tour, several artists present their different interpretations of the themes examined in the exhibition.

Spanish painter Curro González is a representative of the generations of the 1980s in Seville. His works explore the practice of painting with new discourses and reflect on representation as a place from which to build the illusion of reality. Irony and a sense of humour are common in this artist’s work and are two elements he uses to eschew the serious, solemn discourse with which part of today’s art is imbued. He likewise constantly plays with the spectator’s perceptive disposition in his creations.

His works can be found in the most important Spanish collections and museums such as the Museo Nacional Centro de Arte Reina Sofía, the Banco de España collection, Artium, the Centro Andaluz de Arte Contemporáneo, the Caja Madrid collection and the Unicaja collection, among others.

Organised within the framework of the international celebrations marking the fiftieth anniversary of the death of Pablo Picasso (1881–1973) and curated by Éric Troncy, The Echo of Picasso relates Picasso’s oeuvre to that of contemporary artists who, in one way or another, have made or are making its echo resound.

From the outset, Picasso’s work has ‘reverberated’ in the ears of several generations of artists, both during his lifetime and after his death, for all sorts of reasons. Every period has found new resonances in keeping with the ideas proposed by its artists. Those borne along by the logic of the twentieth-century avant-gardes have brought about stylistic developments inspired by those set in motion by Picasso, or have simply explored the possibilities offered by the representational strategies of Cubism with the clear ambition of confronting the fruits of Picasso’s exploration and creativity in order to eventually surpass them.

A number of these works from different periods carry the imprint of Picasso’s innovative techniques freed from stylistic constraints. These range from welded iron to painted bronze, and from collage to the use of everyday materials as supports or constitutive elements of an artwork. They also encompass ceramics, a technique which Picasso was one of the first to inscribe in the artistic language of the second half of the twentieth century.

‘For artists living at the same time as Picasso, it must have been a nightmare trying to keep up with a guy like him. Today we have the freedom of distance.’ (George Condo, 2006).

Today, with the hypothetical end of the avant-gardes, and all the more now that figurative painting seems to have provisionally retrieved its credentials, Picasso’s extraordinary formal inventiveness, formidable stylistic freedom, scant interest in convention and compulsive creativity loom large over contemporary artists. He is probably the only artist so frequently cited, interpreted, evoked, reprised, commented and celebrated in the works of his contemporary and later peers.

‘No matter what, sooner or later there is an inevitable Picasso epiphany in every artist’s life.’ (Marina Faust, 2023).
Artists in the exhibition

Karel Appel, Farah Atassi, Francis Bacon, Cristina BanBan, Miquel Barceló, Georg Baselitz, Jean-Michel Basquiat, Louise Bourgeois, Brian Calvin, César, Antoni Clavé, George Condo, Timothy Curtis, José Dávila, Marina Faust, Genieve Figgis, Jorge Galindo & Pedro, Almodóvar, Jameson Green, Philip Guston, Peter Halley, Zhang Hongtu, Thomas Houseago, Marcus Jahmal, Nicolas Jasmin, Rashid, Johnson, Ewa Juszkiewicz, Martin Kippenberger, Willem de Kooning, Jeff Koons, Maria Lassnig, Sarah Lucas, Markus Lüpertz, M/M Paris, Nikki Maloof, Cristina de Miguel, Sarah Morris, Louise Nevelson, Pablo Picasso, Tobias Pils, Richard Prince, Otis Kwame Kye Quaicoe, Nathaniel Mary Quinn, George Rouy, Louise Sartor, Antonio Saura, David Smith, Claire Tabouret, Henry Taylor, Genesis Tramaine, Tursic & Mille, Cy Twombly, Rebecca Warren, Tom Wesselmann, Franz West and Zio Ziegler.

Éric Troncy, curator

Director of Le Consortium in Dijon, he studied Art History at the École du Louvre and the Sorbonne, as well as Art Market Sociology with Raymonde Moulin at the École des hautes études en sciences sociales in Paris.

As an art critic he founded the magazines Documents sur l’art and Frog and, since 1999, he has worked for Numéro Magazine. Éric Troncy has curated over a hundred exhibitions, as the collectives Weather Everything (Leipzig Museum, 1998), Coollustre (Collection lambert, 2003), The Shell (Almine Rech Gallery Paris, 2015) and The echo of Picasso (Museo Picasso Málaga, 2023), and many other monographic exhibitions at Le Consortium (Alex Israel, Brian Calvin, Emily Mae Smith, among others).

October 2nd, 2023 - March 31st, 2024

December 30th, 2023
Guided visits and workshops for children and adults in connection with the temporary exhibition The Echo of Picasso.
11:00 a.m. Guided tour to The echo of Picasso in English
12:00 p.m. Guided tour to The echo of Picasso in Spanish
11:30 a.m. Print workshop for families in Spanish and English

January 18, 2023
Resonances. Visit ‘The Echo of Picasso’ with Curro González