Seven years ago, we presented the exhibition Guinovart Matèric at the Museu del Càntir, a selection of works from the collection of Carmen and Lluís, which included the magnificent Rostoll (1977), a large-scale work from one of the finest periods of Josep Guinovart’s career. Two years ago, on the occasion of the centenary of Albert Ràfols Casamada’s birth, we dedicated a small anthology to him, featuring singular works such as a 1947 portrait of his wife and fellow painter, Maria Girona, as well as the work Blanc (1960), which forms part of the history of Informalism in our country.
This year we present a group exhibition of thirteen sculptures by eight artists, among them Aurèlia Muñoz, to whom the MACBA and the Reina Sofía Museum are jointly dedicating a major exhibition scheduled for April 2026. Muñoz succeeded in blurring the line between art and craft by exploring, as in Ovals blancs, volumetric possibilities —in this case through macramé— to compose infinite forms in space. Moisès Villèlia also appropriated materials that, until not so long ago, were considered scarcely artistic. His bamboo cane sculptures free themselves from modeling and heavy matter to become forms in perfect balance. Gabriel likewise employs materials not traditionally associated with sculpture to achieve surfaces that seem to have skin and evoke organic forms. The Valencian artist Andreu Alfaro represents pure abstraction, the result of refining form and organizing space through rhythmic compositions. Sergi Aguilar brings the aesthetics of minimalism to formal elegance, as seen in the series in which he works with Belgian black marble. Tauló IV, by Enric Pladevall, is an austere, tense, and elastic work that becomes a line drawn in space. The Galician artist Francisco Pazos, although using a material unusual in his career —corten steel— transfers onto it, to make it timeless, a fissure, the cracks or splits that naturally occur in wood. The Navarrese artist Iñaki Ormaechea achieves the purism of form through schematic works, immaculately polished, free of ornamentation and industrial appearance, yet endowed with an inner luminosity.
Eight different ways of understanding sculpture in this third collaboration between the Museu del Càntir of Argentona and the Nau Gaudí of Mataró.
Núria Poch
Director of the Consortium
Museu d’Art Contemporani
de Mataró
Seven years ago, we presented the exhibition Guinovart Matèric at the Museu del Càntir, a selection of works from the collection of Carmen and Lluís, which included the magnificent Rostoll (1977), a large-scale work from one of the finest periods of Josep Guinovart’s career. Two years ago, on the occasion of the centenary of Albert Ràfols Casamada’s birth, we dedicated a small anthology to him, featuring singular works such as a 1947 portrait of his wife and fellow painter, Maria Girona, as well as the work Blanc (1960), which forms part of the history of Informalism in our country.
This year we present a group exhibition of thirteen sculptures by eight artists, among them Aurèlia Muñoz, to whom the MACBA and the Reina Sofía Museum are jointly dedicating a major exhibition scheduled for April 2026. Muñoz succeeded in blurring the line between art and craft by exploring, as in Ovals blancs, volumetric possibilities —in this case through macramé— to compose infinite forms in space. Moisès Villèlia also appropriated materials that, until not so long ago, were considered scarcely artistic. His bamboo cane sculptures free themselves from modeling and heavy matter to become forms in perfect balance. Gabriel likewise employs materials not traditionally associated with sculpture to achieve surfaces that seem to have skin and evoke organic forms. The Valencian artist Andreu Alfaro represents pure abstraction, the result of refining form and organizing space through rhythmic compositions. Sergi Aguilar brings the aesthetics of minimalism to formal elegance, as seen in the series in which he works with Belgian black marble. Tauló IV, by Enric Pladevall, is an austere, tense, and elastic work that becomes a line drawn in space. The Galician artist Francisco Pazos, although using a material unusual in his career —corten steel— transfers onto it, to make it timeless, a fissure, the cracks or splits that naturally occur in wood. The Navarrese artist Iñaki Ormaechea achieves the purism of form through schematic works, immaculately polished, free of ornamentation and industrial appearance, yet endowed with an inner luminosity.
Eight different ways of understanding sculpture in this third collaboration between the Museu del Càntir of Argentona and the Nau Gaudí of Mataró.
Núria Poch
Director of the Consortium
Museu d’Art Contemporani
de Mataró