Tacet: 11 de diciembre 2018 - 15 de enero 2019

11 ¿ TÁCET | | Daniel Bilbao 2 3 5 11 de diciembre 2018 - 15 de enero 2019 Galería Birimbao. Sevilla. TÁCET | | Daniel Bilbao 6 CATÁLOGO Edita Galería Birimbao. Sevilla Textos Américo Luís Enes Marcelino Xavier Franquesa Alberto Hevia Juan Martínez Moro Juan Villa Daniel Bilbao Maquetación y diseño Liberto Romero Fotografías Liberto Romero EXPOSICIÓN Título Tácet Autor Daniel Bilbao Montaje Alberto Hevia Miguel Romero Liberto Romero 7 8 9 Tacet - Daniel Bilbao Silencio. Quietud. Pausa. Son, con claridad, conceptos reconocibles en las imágenes creadas por Daniel Bilbao. En sus pinturas y dibujos, la traducción de un tiempo en suspensión se vincula íntimamente con la referencia a espacios arquitectónicos pautados por la ortogonalidad, por la depuración, por el despojo. Pero también por las cadencias entre lleno y vacío, entre los ritmos y las alternancias de las geometrías, entre el lugar interior y exterior, entre formas rectilíneas y manchas orgánicas. Recursos pictóricos anclados en la evocación del modernismo de Frank Lloyd Wright, de la Bauhaus, de Mies Van der Rohe y Le Corbusier; sino también, en la misma tradición, en la reciente exploración de Bilbao por el paisaje construido y natural del complejo edificado por la Fundación Calouste Gulbenkian en Lisboa, marcado por nombres como Ruy d'Athouguia, Pedro Cid, Alberto Pessoa o Daciano de Dacosta. Se trata, además, de un modelo paradigmático que propone una simbiosis equilibrada entre el espacio artificial construido y el paisaje natural envolvente. Modelo que comporta, después de todo, un repertorio inagotable de material temático recurrente en la imagen visual de Daniel Bilbao. En los dibujos, prevalecen sobre todo preocupaciones de orden espacial, en un registro esquemático, como una especie de radiografías del espacio, buscando encontrar la esencia de formas y estructuras, subrayando direcciones, líneas de fuerza, destacando planos y superficies, acentuando contrastes entre una expresión geométrica. Las pinturas dan continuidad a estos principios, pero remiten sobre todo a la búsqueda de una atmósfera particular, tratando de fijar un ambiente fugitivo o retener un instante o lugar en suspenso. Como en las pautas musicales en que el tacet señala momentos de silencio y pausa que se articulan por oposiciones con el movimiento de las notas, también en el repertorio de Daniel Bilbao testimoniamos algo de la misma dimensión. Un lenguaje particular, rico de armonías, contrastes y contrapuntos: luz y sombra; reflejos y transparencias; la atmósfera aérea y la materia densa; definido y vago; determinado e indeterminado; simetrías y discontinuidades; centralidad y desequilibrios; estabilidad y agitación; claridad y oscuridad; interior y exterior; abierto y cerrado; luz natural e iluminación artificial; regularidad geométrica y espontaneidad orgánica; arquitectura y vegetación; naturaleza y cultura. Lenguaje que articula espacio y tiempo de forma sensible. Como para prolongar una duración. Una suspensión. Expresión de una cierta idea de pausa inscrita en sus creaciones que, precisamente, sutilmente escuchamos y escrutamos. Prof. Dr. Américo Luís Enes Marcelino Investigador del CIEBA (Centro de Investigación y Estudios de las Bellas Artes) Director del Departamento de Dibujo. Facultad de Bellas Artes. Universidad de Lisboa 16 Guiños velazqueños en la pincelada y pleitesía a “Las Meninas” en unos reflejos de brillo en los cristales que resultan hermosos y perfectos. En otras ocasiones el pincel crea puntos de diferente grosor y tamaño para matizar los fondos y construir la luz interior del edificio, marcando la diferencia con la luz cambiante de los espacios exteriores. Es una lucha contra la naturaleza, resuelta con brillantez y sabiduría siguiendo lo establecido por Leonardo da Vinci hace ya quinientos años cuando decía que el pintor tiene que ir más allá de la simple percepción visual de lo que pinta e interiorizar lo visto y pensarlo, transformándolo. Una tarea que el artista resuelve con impecable madurez estética. Al final, una referencia a un cuadro especial donde más que paisaje existe mobiliario, algo que suena a final o a tanteo de un comienzo diferente. Son tonos más oscuros, luminosidad reducida, visión distinta. Hay algo que transmite un ingrediente sensorial que se “oye” en el silencio del “tácet”. En la imagen, se capta esa música hopperiana que vibra como fondo en los cuadros del artista americano en los que, en general, todo está hablado y el silencio sobrecoge. Interesante trabajo y muy interesante manera de introducir un mundo musical en el color y forma de la pintura. Alberto Hevia 17 18 19 Daniel Bilbao. Hágase la línea… Naturaleza y razón son los dos polos que articulan la última obra del pintor sevillano Daniel Bilbao, si bien, en el punto medio de ambas categorías, no es otro que el propio ser humano el trasfondo último de su trabajo. Un tema que, cuando menos desde el romanticismo, atraviesa toda la modernidad hasta nuestros días, y que es representado por este reflexivo artista mediante una eficaz retórica elusiva. Elusión de la presencia humana que es la que tensa dialécticamente los dos elementos principales de estos cuadros: el paisaje y la arquitectura. Una naturaleza representada como generoso contexto para la percepción de lo visible, lo que viene sugerido en los formatos de los diversos soportes empleados, muy especialmente en aquellos panorámicos. Paisajes de sugerentes y etéreas atmósferas, puras o idealizadas, aunque, tal vez, solo se trate de ese momento tan cotidiano y previo a cualquier amanecida, en el que las tinieblas se abren dulcemente a modo de cortinajes. Una imagen del mundo, la que ha elaborado el pintor, tan minimalista como arcaica, alusiva a un horizonte primigenio en el que la presencia de vida orgánica queda apenas desvelada por los trazos que dibujan las ramitas de un pequeño arbusto, o el reflejo vibrante del agua estancada. En este prístino escenario se desvela, de manera furtiva y sigilosa, un espectro o fantasma, que es el protagonista central de estas pinturas: la razón sustanciada en forma de arquitectura. La realidad orgánica circundante queda detenida en los límites geométricos que establecen tajantemente la línea, el plano y el volumen, los tres grandes hitos de la razón constructiva. Pues no es ese sino el origen y la principal intervención humana sobre la superficie terrestre: un orden inevitablemente ortogonal y acotado, tan ajeno como, a efectos existenciales, protector y complementario al universo biológico. La elección del estilo arquitectónico no podría haber sido más acertada: edificios racionalistas de fundamento arquitrabado y estructura en secuenciación o modulación panorámica, con grandes vanos que permiten, aún a pesar de la fronteriza divisoria establecida por la línea, el plano y el volumen, incorporar la naturaleza en la construcción, así como, viceversa, a esta última en el paisaje. Consecuentemente a ello, aparecen en la obra de Daniel Bilbao las vistas de interiores, en las que grandes ventanales ofrecen a la arquitectura el imprescindible complemento de la razón interna: las cualidades desordenadas, aleatorias, caprichosas y contingentes en las que se expresa la vida natural, la vegetación, los fenómenos atmosféricos, la luz o la superficie del agua 20 Y ya en los interiores edificados, de nuevo mediante una sutil poética de la elusión, el pintor, ahora convertido en anfitrión, ofrece recorrido y acomodo por muy diversas estancias, mediante toda una serie de elementos estructurales y detalles, como zaguanes, escaleras, objetos muebles… Obviamente al no existir personaje alguno en la representación, los invitados del artista han pasado a ser, mediante un ejercicio de proyección ergonómica, los propios espectadores de la obra. Se trata, de hecho, de espacios públicos de tránsito, como museos y centros de arte, en los que resulta imprescindible la orientación y el descanso del visitante. Tránsito y descanso, de nuevo una ingeniosa —aunque tal vez inconsciente—, alusión a la errabunda condición del devenir humano.. En definitiva, Daniel Bilbao en el conjunto de esta obra aglutina con gran coherencia y sutilidad toda una serie de cuestiones nodales en torno a las relaciones entre naturaleza y razón, en tanto ejes que mueven y tensionan la existencia del hombre moderno. Lo hace además mediante una muy medida recreación técnica, en virtud de la cual todo lo dicho cobra una plusvalía de significación plástica. La preparación de algunos soportes con la calidad de antiguas pizarras, en tanto estas son superficies idóneas para el pensamiento esbozado, pues permiten la convivencia y superposición, a modo de palimpsesto, tanto del trazado intuitivo de gesto rápido y espontáneo como también de la más precisa y acotada medición. O el uso orfebre de puntas de plata y de oro en los formatos más pequeños, con las que el artista dibuja sobre superficies habilitadas para recoger los más mínimos restos de un sutil acontecer argentado o áureo sobre el soporte, haciendo de estos dibujos auténticas y exquisitas joyas gráficas. Juan Martínez Moro 21 22 23 PAISAJES PRE-FIGURADOS En TACET, la obra de Daniel Bilbao se divierte; se divierte en el sentido latino de tomar otro u otros caminos. Aunque claramente en la línea del entorno intervenido en la que viene trabajando en los últimos años, en esta muestra su intención se estiliza, desarrolla una especie de usura de la anécdota que provoca un notable ascenso del sentido de las formas, de las líneas y de las ausencias-presencias. En efecto: menos es más en esta serie de obras asépticas, sutiles, de atmósferas como sacralizadas mas plenas de connotaciones sensoriales. Sostenía André Breton que hay un punto en el que lo visible y lo invisible, lo real y lo fantástico, lo actual y lo remoto se tocan. Algo así ocurre en estos cuadros de Daniel Bilbao tomados por una suerte de silencio rumoroso, de escenario a punto de ser ocupado, prefiguraciones de seres que serán, que están siendo ya en lo invisible. En el marco de la Teoría de la recepción de Gadamer, la idea de fusión de horizontes bien podía explicar la relación obraespectador que se produce en esta última entrega de Daniel Bilbao: el cuadro no se muestra completo, es el ojo y el paladar del que mira los que deben completarlo, de manera que resultaran tantos cuadros como miradas, tantas lecturas como sensibilidades y perfiles personales. Una llamada a la participación activa del receptor, como en las más puras expresiones abstractas. Juan Villa 24 25 TACET: El silencio gráfico Arnold Schönberg: “Te encontrarás con un muro que no te será posible traspasar” John Cage: “Entonces pasaré mi vida golpeándome la cabeza contra ese muro” Tacet es el nombre de la figura que, en música, representa el silencio. Podemos decir que es el símbolo gráfico de éste, metafóricamente… el silencio musicalizado. No deja de ser sorprendente que siendo la música la más sublime, etérea y abstracta de las Artes, a su vez sea las más racional y rigurosa…todo es exacto y preciso en ella todo se pondera, hasta el silencio. No es menos sorprendente que John Cage se obsesionase con perseguir el silencio absoluto después de sentirse embriagado precisamente por el paisaje sonoro en una esquina de Sevilla allá por los años veinte. Tras ese impacto no cejaría en su empeño hasta llegar a introducirse en una cámara anecoica (1) en la Universidad de Harward. Al finalizar la experiencia, Cage preguntó al técnico de sonido por qué no había llegado a percibir el silencio absoluto; durante el episodio oía intensos agudos y una percusión grave. El especialista le explicó que el sonido agudo correspondía al funcionamiento del propio sistema nervioso, y el grave a la circulación sanguínea. John Cage llegó a la conclusión de que el silencio no existe, es solo un concepto. Tras la búsqueda de ese concepto compuso su famosa pieza 4’33, en la que, cada vez que se interpreta, el aparente silencio es diferente, provocado por la presencia de la respiración del público y los sonidos involuntarios de los presentes en la sala. Resultan evidentes algunas similitudes entre manifestaciones musicales y plásticas. En la pintura o en el dibujo, los espacios llenos y vacíos mantienen una relación de fuerzas oponentes que son determinantes para el encuentro de la armonía. Al igual que en la música, las soluciones armónicas son infinitas combinaciones matemáticas en cuanto a la distribución de notas, tiempos, pulsaciones en pro de la solución equilibrada. En las Artes plásticas se produce el mismo escenario y es el artista el encargado de combinar grafismos, tonos, texturas y colores en una suerte de alquimia que logra cuando alcanza el equilibrio de estas fuerzas. Lo vacío y lo lleno, pues, quedan representados en ambos lenguajes de forma equivalente. 32 33 Biblioteca Fundación Gulbenkian 2018 Óleo sobre lienzo 100 x 150 cm 34 35 Cloakroom 2018 Óleo sobre lienzo 54 x 65 cm 36 37 Gulbenkian Museum 2018 Óleo sobre tabla 52 x 61,5 cm 38 39 Red chairs - Gulbenkian Foundatión - Headquarter 2018 Óleo sobre tabla 100 x 180 cm 40 41 Tácet - Gulbenkian Museum I 2018 Óleo sobre tabla 100 x 180 cm 48 49 Gulbenkian I 2018 Mixta sobre papel 22 x 29,5 cm 50 Gulbenkian II 2018 Mixta sobre papel 22 x 29,5 cm 51 Gulbenkian III 2018 Mixta sobre papel 22 x 29,5 cm 52 Gulbenkian IV 2018 Mixta sobre papel 22 x 29,5 cm 53 Gulbenkian V 2018 Mixta sobre papel 22 x 29,5 cm 54 Gulbenkian VI 2018 Mixta sobre papel 22 x 29,5 cm 55 Gulbenkian VII 2018 Mixta sobre papel 22 x 29,5 cm 56 57 Blackboard I - Farnsworth house. MVR 2018 Mixta sobre tabla 100 x 180 cm 64 Tácet V 2018 Punta de plata sobre madera 12 x 21 cm Tácet VII 2018 Punta de plata sobre madera 12 x 21 cm 65 Tácet VI 2018 Punta de plata sobre madera 12 x 21 cm Tácet VIII 2018 Punta de plata sobre madera 12 x 21 cm 66 Tácet IX 2018 Punta de plata sobre madera 12 x 21 cm Tácet X 2018 Punta de plata sobre madera 12 x 21 cm 67 Grand Auditorium - Lake - Gulbenkian Foundation 2018 Punta de plata sobre madera 61 x 82 cm 68 Blackboard A 2018 Punta de oro sobre papel de lija 9 x 15 cm Blackboard B 2018 Punta de oro sobre papel de lija 9 x 15 cm 69 Blackboard C 2018 Punta de oro sobre papel de lija 9 x 15 cm Blackboard D 2018 Punta de oro sobre papel de lija 9 x 15 cm 70 71 Tacet - Daniel Bilbao Silence. Stillness. Pause. Definitely, those are perceptible qualities in the pictures created by Daniel Bilbao. In his paintings and drawings, the translation of a time in suspension is closely related with the reference to architectural spaces ruled by orthogonality, pure lines and emptiness; But also by the cadences between full and blank areas; between the rhythms and alternations of geometries; between interior and exterior; between rectilinear forms and organic surfaces. Those are pictorial resources embedded in the evocation of modernism by Frank Lloyd Wright, Bauhaus, Mies Van der Rohe and Le Corbusier; but also, and in the same tradition, in the recent exploration of Bilbao around the constructed and natural landscape of the built complex of the Calouste Gulbenkian Foundation in Lisbon, marked by such hands as Ruy d'Athouguia, Pedro Cid, Alberto Pessoa or Daciano da Dacosta. It is, likewise, a paradigmatic model that proclaims a balanced symbiosis between the built artificial space and the surrounding natural landscape. This model is, after all, a source for a vast repertoire of recurrent thematic material in the visual imagery of Daniel Bilbao. In his drawings, spatial concerns prevail, guided by a schematic record, almost like an x-ray of space, seeking to achieve the essence of forms and structures, highlighting directions, lines of force, accenting planes and surfaces, stressing contrasts between a geometric, regular, rectilinear and incisive expression by the tracings of architectures, as opposed to a loose, gestural or exploratory expression in the drawing of the surrounding nature; here, with a scrambled line that walks by the vegetation's profile; there, with hatched traces that characterize overall masses. His paintings fallow these principles, but they mainly refer for a quest to a particular atmosphere, trying to capture a fugitive ambiance or to retain a particular moment; A place in suspension. Just like in musical notation, where tacet signals stands for moments of silence and pause, which are combined by oppositions with the cadence of the notes, also in the repertoire of Daniel Bilbao we witness something of the same dimension. He uses a singular language, rich in harmonies, contrasts and counterpoints: light and shadow; reflections and transparencies; air atmosphere and dense matter; rigorous and vague; determined and indeterminate; symmetries and discontinuities; centrality and imbalance; stability and agitation; clarity and obscurity; in and out; open and closed; natural lighting and artificial illumination; geometric regularity and organic spontaneity; architecture and vegetation; nature and culture; A language that articulates space and time in a sensitive way; Like as if he was whispering us about an expanded duration; A suspension: The expression of a certain idea of pause inscribed in his creations which can be subtly listened and perceived. Prof. Dr. Américo Luís Enes Marcelino Researcher of the CIEBA (Center for Research and Studies of Fine Arts) Director of the Drawing Department. Faculty of Fine Arts. University of Lisbon 72 73 MODERNITY AND NOSTALGIA Nowadays, but not ever, the nostalgia is an important factor in the artistic practices, it is indeed but I guess this is a modern fact, or a destiny if the reader prefers. It has to do with the expression of what you want when your wishes tend by obligation to move away of all conventions, a tension to question nowadays the materiality in some art works to the point that apparently, nothing prevents it to travel back without ticket to the departure point to meet the original text, to the initial idea, I mean. Of course, some of these works are not far from their initial intention, before undertaking the formalization process, because an adjustment to the forms is a basic matter when you are urged to communicate, and therefore every time this happens, the expressive economy is then imposed by all means. Nothing to object to a procedure that shorten the old procedure problem, only that it establishes a suspiciously academic difference between how and when, it is in practice a very expressive wink, in such a way that the reading of the message does not admit doubts on a possible interpretation and its economic writing, fulfills what was promised and does not expand more than necessary. All right, many share this ideology. But if some don´t realize this self-deception that I would summarize more or less like this: what you say is never what you wanted to say (among other reasons, because the art work is symptomatic, a symptom, and its therapeutic effects are silenced, never transferred or revealed), this should not lead us to any misunderstanding. “The less is more” the singular minimalist proverb now used even in advertising, is based on the belief that the proposed expressive reduction, highlights the strength of the essential and this essence is close to the truth or at least close to what is true. Is the same law of the modern, and the nostalgia is the “tail” of the same coin that only shows the “head”. Daniel Bilbao does not contradict the above statements, of course, but he seems to be interested on quantifying what a wise man, not an artist would define as losses. A contemporary artist preparing to ilustrate a rationalist building, from painting and drawing, is an outstanding autonomy fact reversing the process of an architectural project (the typical view by which the architect confirms a hypothesis), implies a reflection that should not be unnoticed by those interested in the contemporary art. In the works shown in the exhibition, the architecture is not just another motive, the background of a closing landscape in front of a perspective stated as a mental construction, is, on the contrary, the reverse of a procedure in the way that, in each of the steps of forming it as a work, as paintings and drawings, the succession intends to go back to a possible totality, that of the artist. It is about the style, the poetic, because in no way does it detracts from Daniel Bilbao's previous work, and in the works now exposed, the impossibility of speaking of a certain culture without altering the harmony of the elements that make up the system can be appreciated. 80 81 Daniel Bilbao. Here comes the line… Nature and reasoning are the two poles that structure the last works of Sevillian painter Daniel Bilbao, however in the midpoint between these two categories is the human being the background of his work. A subject that, at least since romanticism, has been present throughout the modernity up to these days, and that is represented by this thoughtful artist through an effective elusive rhetoric. Elusion of the human presence that dialectically tense the two main elements of these paintings: landscape and architecture. A nature represented as a generous context for the perception of the visible, suggested in the formats of the various used supports, particularly in those panoramic ones. Landscapes of suggestive and ethereal atmospheres, pure or idealized, although perhaps, it may only be this everyday moment before the dawn, in which the darkness sweetly opens as a curtain. An image of the world, which the painter has created, in a minimalist as archaic way, related to a primitive horizon in which the presence of organic life is barely revealed by the traces representing the twigs of a small bush, or the undulating reflection of the water in the ponds. In this clear scenario, a specter or ghost is revealed in a furtive and stealthy way, playing a central role in these paintings: reason substantiated in the form of architecture. The surrounding organic reality is stopped in the geometrical limits that sharply establish the line, the plane and the volume, the three great milestones of the constructive reason. It is just the origin and the main human intervention on the earth's surface: an unavoidable orthogonal and limited order, as alien as, for existential purposes, protective and complementary to the biological universe. The choice of the architectural style could not have been more accurate: rationalist buildings of architrave foundation and structure in sequencing or panoramic modulation, with large openings that allow, despite of the dividing border established by the line, the plan and the volume, incorporate nature in the building, as well as, vice versa, the building in the landscape. Consequently, in Daniel Bilbao's work, interior views appear, in which large windows offer the architecture an essential complement of the internal reason: the disordered, random, capricious and contingent qualities in which natural life is shown, vegetation, atmospheric phenomena, light or water surface. 82 And in the buildings indoor spaces, again through a subtle poetic of elusion, the painter, now turned into a host, offers a travel and accommodation through very diverse rooms, through a series of structural elements and details, such as hallways, stairs, furniture ... Obviously as there is no actor in the performance, the guests of the artist become, through an exercise of ergonomic projection, the spectators themselves of the play. It is, in fact, about public transit spaces, such as museums and art centers, where the guidance and relax of the visitor is essential. Transit and rest, again an ingenious, though perhaps unconscious, allusion to the erratic condition of human becoming. In conclusion, Daniel Bilbao in the whole of this works brings together, with great coherence and subtlety, a series of crucial questions about the relations between nature and reason, as axes moving and stressing the existence of modern men. And he does so by means of a very measured technical recreation, by virtue of which everything said gains a surplus value of plastic significance. The preparation of some supports as the old slates, as ideal surfaces for the outlined thinking, allow the coexistence and superposition, as a palimpsest, of both the intuitive lines of quick and spontaneous gesture and the most precise and limited measurement. Or the use like goldsmiths of silver and gold tips in the smallest formats, in which the artist draws on surfaces enabled to collect the slightest remnants of a subtle silver or golden event on the support, making these drawings authentic and exquisite graphic jewels. Juan Martínez Moro 83 84 85 PRE-FIGURED LANDSCAPES In TACET, the work of Daniel Bilbao has fun; has fun in the Latin sense of taking another or other paths. Although clearly in the line of the intervening environment in which he has been working in recent years, in this exhibition his intention is stylized, he develops a kind of usury of the anecdote that provokes a remarkable rise in the sense of forms, of lines and of the absences-presences. Indeed: less is more in this series of aseptic, subtle works, of atmospheres as sacralized more full of sensory connotations. André Breton held that there is a point at which the visible and the invisible, the real and the fantastic, the actual and the remote touch each other. Something similar happens in these paintings of Daniel Bilbao taken by a sort of murmuring silence, of a scenario about to be occupied, prefigurations of beings that will be, that are already being in the invisible. Within the framework of Gadamer's Theory of Reception, the idea of merging horizons could well explain the work-spectator relationship that occurs in this latest installment of Daniel Bilbao: the picture is not complete, it is the eye and the palate from the one who looks at those who must complete it, so that there will be as many pictures as looks, as many readings as there are sensibilities and personal profiles. A call to the active participation of the receiver, as in the purest abstract expressions. Juan Villa 86 87 TACET - The graphic silence Arnold Schönberg: "You'll find a wall that you will not be able to pass through" John Cage: "Then I'll spend my life hitting my head against that wall" Tacet is the name of the figure that in music language represents the silence. We can say that it is its graphic symbol, metaphorically... the musicalized silence. It is surprising that being music the most sublime, ethereal and abstract of the arts, it is at the same time the most rational and strict… Everything is exact and accurate in it. All is balanced, even the silence. It is no less surprising that John Cage became obsessed with pursuing absolute silence after feeling enchanted by the “sound landscape” in a Seville´s crossroad back in the 1920´s. After that impact he did not yield in his endeavor until he got into an anechoic chamber (1) at the University of Harward. At the end of the experience, Cage asked the sound technician why he had not come to perceive absolute silence; during the episode he heard intense treble sounds and bass percussion. The specialist explained that the high-pitched sound corresponded to the functioning of the nervous system, and the low-pitched to the bloodstream. John concluded that silence doesn't exist, it's just a concept. After searching this concept, he composed his famous piece 4'33, in which every time it is performed, the apparent silence is different, caused by the presence of the public's breathing and the involuntary sounds of those present in the hall. Some similarities between musical and plastic manifestations are evident. In painting or drawing, the full and empty spaces keep a relationship of opposing forces that are decisive to find the harmony. As in music harmonic solutions are infinite mathematical combinations in terms of notes distribution, times, beats in favor of balanced solution, in the plastic arts we find the same scenario and the artist should combine graphics, tones, textures and colors in a kind of alchemy, achieved when he finds the balance of these forces. The emptiness and fullness therefore, are represented in both languages in an equivalent way. 88 The series of paintings and drawings Tacet derives from the research on the altered environment that I have been developing for a long time. The human intervention in the environment is evident in many ways, but maybe the use of the straight line is its most significant mark. Perhaps is through the rationalist architecture, in its intention to achieve the greatest simplicity and purity, where we can perceive in a more evident way this struggle of forces between the organic of nature and men´s rationalism. In my previous exhibitions “Architectures” (2) and “Architectures interventions” (3), these two reference elements appear. In them, the buildings establish a dialogue with the environment in a balanced way, showing a set of qualities in the representation of both the architectural materials and the natural ones, causing compositional encounters where natural elements like water and vegetation appear surrounding the lines of the building, promoting the study of different textures and dynamism, as in the undulating reflections of the straight lines in the water, or in the vaporous clouds in contrast to the firmness of the architectural material. The human presence becomes more evident in them when the scenarios show the light of the sunset and in some window appears a light represented by orange tones that, in the cold surroundings that enclose that luminous moment, focuses the spectator´s attention revealing the human presence in the building without a human representation being explicitly manifested. This conceptual game of establishing the link of light inside with men and the natural and artificial lighting combination was also proposed in a similar way by Magritte in the series titled L’Empire des Lumières. (4) In the Tacet series, the discourse is focused on capturing spaces in which silence is felt in both the external environment and the interior spaces. Iconic and recurrent works in my painting, such as the Farnsworth House of Mies Van der Rohe, share dialogue with other contemporary buildings by Javier Terranes, both extracted from their naturalistic tone and represented in a minimalist language on black backgrounds to the ones I call “slates”. As for the approach of interior spaces and the silence, it was decisive the research I took part in at the CIEBA (Center for the Research and study of the Fine Arts) and the Fine Arts School in Lisbon, about the rationalist architecture of the Calouste Gulbenkian Foundation Museum. The spaces generated by emblematic architects of the Portuguese rationalism Ruy D'Athouguia, Pedro Cid, Alberto Pessoa or Daciano da Dacosta allows, from an architecture deprived of ornaments, the joy in the contemplation of the landscape designed by Gonçalo Ribeiro Telles and António Viana Barreto. These spaces show, through its large windows, the integration of the natural environment into the interior of the architectural space, providing serenity and harmony. If in the previous series, the human presence was represented through the conceptual game of the lights through the windows, in this one is symbolized through the furniture. It is disturbing to see a seat located inside these rationalist spaces in front of a huge window. The force that charges the scene is due to emptiness and absence. It is worth highlighting the exquisite and evocative design of the furniture of the Foundation by 89 Daciano da Costa, with a clear style of the 50´s-60´s taking us back to a time that has been stopped in some way in these spaces. As mentioned in the beginning, Tacet is the musical figure that represents silence. Graphically it comes to be an elongated H in its horizontal I----------------------I, which I cannot avoid associating with elements of the rationalist architecture and the maxim attributed to Mies van der Rohe "Less is more". Daniel Bilbao (1) Anechoic camera: space designed to absorb sound andelectromagnetic waves without reflecting them. (2) Http://www.danielbilbao.net/wp-content/uploads/2016/11/Daniel-Bilbao-Arquitec- turas.pdf (3) Http://birimbao.es/wp-content/uploads/2017/06/16-06-7-Daniel-Bilbao-Arquitec- turas-Intervenciones.pdf (4) L'Empire des Lumières is a series of paintings by RenéMagritte painted between1953 and 1954 96 C/. Alcázares, 5 41003 Sevilla. Tlfno. 954 56 10 84 [email protected] / www.birimbao.es Horario: lunes de 18,00 a 21,00 h. martes a viernes de 11,00 a 13,30 y de 18,00 a 21,00 h. sábado de 11,00 a 13,30 h. Birimbao arte contemporáneo 97 98 42 LOGO GALERÍA EXTERIOR CONTRAPORTADA Birimbao arte contemporáneo Calle Alcázares, 5. Sevilla