The first trial of the Basque philosopher Xavier Zubiri, Nature, history, God (1944), in which he formulated his thesis on these three concepts based on Greek philosophy, modern science and the tradition of phenomenology, has been for Commissioner Miguel Cereceda one of the bases on which to raise the sample that brings together, in centrocenter, recent works of Núria Fuster, Clara Montoya and Sandra Val.
Under the title of “Three Formal Experiences”, this assembly aims to deepen the current directions of the sculpture according to three research models that could determine in recent decades the evolution of formalism in that discipline, an evolution in which the desire for experimentation has not implied the renunciation of the exposition of concrete content. In the case of the three authors selected in this proposal, they will have to do with those essential notions of metaphysics in the West, which give title to the book of Zubiri.
Open the Núria Fuster tour, which from its inception works by trying to redefine the space from volumes achieved by assembly and distortion of objects and materials found, in pieces that evoke Robert Rauschenberg, Cady Noland or Sarah Lucas. Sometimes he tries to decipher the complexity and possibilities of those waste previously associated with certain uses, such as plastics, irons or coat racks; She transforms them into sculptures of raw plasticity and beauty.
This time, his reference has been Barbara Hepworth and analyzed the handling of space, the hole and the void in the sculptures of the British, whose death is fulfilled half a century. He has especially attended to the presence in his works of this vacuum, which became the axis of his compositions.
Clara Montoya, on the other hand, is the author of facilities that seek to link the past and present, the real and the intangible and that, incorporating conceptual connotations, encourage the curiosity of the spectator for the remote and coded, by the universal dimensions of some particular facts and by all the forms that have vertebrate our need to communicate. When he went through our signs, he explained that he took as sources the science, philosophy and literature and that the background of his creations combines, precisely, philosophy and poetry: I explode the beauty of trying to understand the world.
In Centrocentro, Montoya teaches us five facilities that allude to our responsibility in relation to nature, our ability to build and understand the world from the look and the impact on the environment of our individual or group acts.
Finally, Sandra Val favors in her work the establishment of relations between ceramics, glass and goldsmiths and the connection of these disciplines with our current languages and imaginary: their projects approach minimalism and geometric abstraction. He has also sought the integration of everyday objects and pieces of classical ceramics, and the fruits of that fusion gives them complete and diverse meanings as all nascent.
In the project that exhibits in this exhibition, it has preferred to look at the cosmos: it offers an installation, Garden constructionborn of an imaginary hypothesis, that it has been a cosmic gardener who has lit life. Architectures linked to worship and power have inspired this proposal, which converge the porcelain, metal, textile or glass with virtual scenarios.
“Núria Fuster, Clara Montoya, Sandra Val. Three formal experiences”
Centrocentro
CIBELES SQUARE, 1
Madrid
From June 26 to October 26, 2025
