Navarro Baldeweg, ways to do

Madrid,

It is not a good idea to establish hierarchies between the different disciplines that make up the artistic work of Juan Navarro Baldeweg, as an architect as a painter, academic of Fine Arts in San Fernando and National Prize for Plastic Arts in 1990. His first studies, in Santander, focused on drawing and painting, later trained in recorded at the School of Fine Arts of San Fernando and final Madrid, in which he would be a professor of projects.

As an architect, they are owed, in a shallow review, the house of the rain of Santander; the Palace of Congresses and Exhibitions of Castilla y León, in Salamanca; the Municipal Library of San Francisco El Grande (Madrid); the Cultural Center of Villanueva de la Cañada (Madrid); the Library of the Faculty of Music of Princeton University; or the Altamira Research and Museum Center; As a painter he has starred in a twenty individual samples and his work is present in a good number of Spanish and international centers, among the first the Reina Sofía Museum, the same academy of San Fernando, Patio Herreriano or the Museum of Fine Arts of Álava.

Also author of sculptures and facilities, Baldeweg is the object of an extensive exhibition on the fifth centrocenter plant in which, under the commissioner of Ignacio Moreno Rodríguez, the ties between their production are reviewed in those various areas in the thematic and the formal: Sixty and this year, because part of them are unpublished. His early paintings are not lacking, the facilities he carried out during his stay at the Center for Advanced Visual Studies of the MIT of Boston or his most recent fabrics.

Navarro Baldeweg. Do and chance. Centrocentro. Photography: Creative poppy

“Do and chance”, which is titled this project, is part of the recent exhibition line of this Madrid space aimed at spreading the work of fundamental artists of the Spanish landscape that have not been subject to recent exhibitions in the capital (it was also the case of Rafael Canogar) and it comes to point out that, although autonomously contemplated the creations in these different techniques of Baldeweg offer obvious. Atisar that, studying them together, they seem to respond to certain common principles or impulses; even to some characteristic schemes in the ways of doing. Among them would be attention to gravity as a binder of matter, to light as a transformator of spaces and generator of emotions or the flows of energies and information (which already structured their exhibition “a zodiac” in the ICO Museum, the last institutional of this author in Madrid); They also attend to a concern for the active participation of the human body in the work of art, especially in relation to the configuration of the visual horizon and the gestural expressiveness of the hand, or to the examination of universal behaviors in physical processes of action that indicate the reciprocity existing in the world between consumption and energy expenditure, and on the way, between the act of creating and that of destroying.

These are issues that have vertebrate the trajectory of Navarro Baldeweg in almost all its facets since its inception and that leave our path – in those exhibitions that, like this one, have threaded their work in different formats – with insistence, aiming to a creative strategy, to a complex fan of concepts that are its own, ultimately to common coordinates in which their common coordinates in which their tools. In the artist’s own expression, to a “previous house.”

Although, as we said, all its technical means are represented here, it is inevitable that the painting will take center stage, as that scenario where the hazards of the road, the unexpected, will leave their mark on the canvases, and the author’s expectations have to count from the beginning with that degree of indefinition. The architecture is due to a function and must face some needs, which determines its predictability with respect to the becoming little regulated by the plastic arts.