Corrientes | Juan E. Correa

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Release Time: March 2, 2022
PROJECT CREDITS

Author: Juan E. Correa

Title: “Corrientes”

Material: 316L stainless steel blasted and painted in red

Measures: 20 x 132 x 39,5 m

Year: 2020

Volume: 104.280 mq

Weight: 36.000 Kg

Developer: Ayuntamiento de Las Palmas de Gran Canaria

Architect: Héctor Martínez Santana

Location: Tamaraceite – Las Palmas de Gran Canaria

Calculation of Structure: Huca Arquitectura

Construction company: Acciona Construcciones

Metal Workshop: Premonser

Photos Credits: Don Worry / Juan E Correa

SpainLas Palmas

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© Don Worry / Juan E Correa

"To speak of "CURRENTS" is to speak of public space and at the same time to look at the landscape. Working between architecture and sculpture, between landscape and art, offers a frontier space that needs both to express THEMSELVES. If we are able to connect with this dialogue then we can see each fragment of the journey as a unique space” Juan Correa

© Don Worry / Juan E Correa

© Don Worry / Juan E Correa

The park of Tamaraceite, designed by the architect Hector Martínez and the sculptor Juan E. Correa has managed to generate an imposing poetic space in which the air, sky and earth circulate, integrating perfectly to produce a cohesive space. The park, located between the shopping center of Los Alisios ( Las Palmas de Gran Canaria) and a highway seemed to be destined to be a sort of "no man’s land" between two non-places and yet the artist has managed to create a work that is, at the same time, a park and a sculpture. This space shows that it is possible to make artistic interventions in a public place that fulfifills the social function of offering spaces to the public or, better, spaces for citizens to enjoy the aesthetic experience with an emancipatory potential.

Sketches

Description of project by Fernando Castro Flórez

Since the late sixties, we have witnessed the conflfluence of the problematic nature of painting with the emergence of the expanded sculptural fifield, the conceptual retreat (or contextualist rhetoric), or the emergence of the cybernetic counterculture. Rosalind E. Krauss has pointed out that sculpture has become a kind of "ontological absence", something that is neither architecture nor landscape, however it is possible to speak of an expanded logical fifield in which notions such as "emplacements marked" or "axiomatic structures", constructions dialectically related to the place or traditional type sculptures

© Don Worry / Juan E Correa

Hybridization entails something more than an intertwining of languages, it is above all a mixture of intentions and meanings, an (anti) communicative rather than expressive will. Juan E. Correa has spent years displaying a sculptural work that dialogues with the heritage of minimalism. Trained in the architectural discipline and with a great talent for drawing, he decided to concentrate his imagination on sculptural composition, playing, with great rigor, with planes and angulations, taking up (in an extraordinarily personal way) so many Brancusian aspects when topological issues are present. in Max Bill's canonical Moebius band, predilections for industrial materiality with formal analogies with works by Richard Serra or Andreu Alfaro. The attitude of this Canarian artist is not, in any sense, epigenetic nor does it manifest "anguish of inflfluences", on the contrary, far from any citations what he is interested in is "going to the appointment", that is, generating sites in a radical dialogue with architecture, understanding space in all its variables and dynamics.

© Don Worry / Juan E Correa

© Don Worry / Juan E Correa

In non-places, the artifificial and the banality of illusion dominates. That publicity that is everywhere has reached the end of its strategies; to a certain extent, non-places serve, now in a singular detournement, for dreams to be projected and there, where we only travel at full speed or, better, where we do not want to be, a new form of flflanerie could develop. Contemporary places of passage “remind us” (in a paradoxical epidemic of collective forgetfulness) of our nomadic condition, but they also acquire a spectral tone; no one can inhabit these constructions, they are a limit that must be forgotten, the place that holds us back. Juan E. Correa has always tried to generate places in his interventions in public spaces, departing from the "logic of the pedestal", from the rotondistic imposture or the mere placing something on the street without worrying about contextual relationships. If in the Powder magazine he created a space in which the sculpture was integrated, even taking into account the development of the railing, in the project he has carried out in Tamaraceite (a neighborhood of Las Palmas de Gran Canaria) he shows both a total artistic maturity as well as a will to radically carry out a project that can properly be called public sculpture.

© Don Worry / Juan E Correa

© Don Worry / Juan E Correa

It should be remembered that one of the obsessive concerns of Juan E. Correa's aesthetics is delimitation and thus he embarked, for example, on an investigation into the multitude of forms that space enclosed by lines adopts. In the Rubrics exhibition that he carried out in 2013 in the Manuel Ojeda gallery, he presented twenty sculptures made with metallic spheres that draw cylinders in a vacuum. This truly poetic will to "enclose the air" is modulated on a monumental scale in the Circulación del aire project. Already in 2009, Juan E. Correa spoke that his works allowed “to feel or see the air"4 and in the park of Tamaraceite he has managed to generate an imposing poetics of space (to use the notion developed by Gastón Bachelard) in which air, wind, heaven and earth, circulation and pause, are perfectly integrated to produce a place. The park located between the Los Alisios shopping center and a road seemed to be destined to be a kind of “no man's land" between two non-places and, nevertheless, Correa has managed to create a work that is, at the same time, a park and a sculpture, space, in short, extraordinary that shows that it is possible to carry out artistic interventions in public space that fulfifill the social function of, worth the redundancy, offering spaces to the public or, better, places to citizens in which the aesthetic experience has, as Schiller claimed, an emancipatory potential.

© Don Worry / Juan E Correa

© Don Worry / Juan E Correa

Once again, the question arises about the hic et nunc of the work of art, what kind of presence can it have in the era of the digitization of the gaze5 . There is no doubt that the sculptural, in a broad sense, that is, subjected to all kinds of miscegenation, is one of the possible ways out of the labyrinth of the "historical disease", avoiding both cynicism and a self-irony that would lead us to consider ourselves posthumous. Juan E. Correa proposes, throughout his artistic career, a line of resistance against the trivializing tendencies of culture, without falling into an anachronistic elitism; his intention has been at all times to take "space as a project tool" and seek in his interventions that places are not merely "sublimated" but rather that they allow intensifification of life experiences. In a certain sense, the red color that he has used on so many occasions refers to the arteries, the heartbeat, as well as the circles and spirals have that symbolic- archetypal condition of referring to cyclical temporalities or the search for the center and even to the longed-for harmony that So weird, it sounds in a crazy time.

© Don Worry / Juan E Correa

The work of Juan E. Correa shines with its light. It is not, although to some it may seem like, a huge "lamp", but rather a space articulated in such a way that it constantly changes its appearance:

we have to go through it, follow different paths to understand how it offers us different and fascinating points of view. The sculptural element itself establishes an air circulation that dialogues and integrates with the architectural and landscaping elements. But, also, when night falls, the lighting (integrated into the sculpture itself) generates another prodigious dynamic. It will be the viewer or, better, the citizen who ends up fifinding different sites in that wonderful place that this work of public art provides. Although the symbolic key is (fortunately) open in this intervention, we could suggest that all those inclined or angular elements that (apparently) support and make up the piece may refer to the "unstable" equilibrium situation in which we live, but also to the need to support each other to make existence bearable. The fall is not allegorized but, on the contrary, a space of the common is built in which it is necessary to have open perspectives, different points of view that, besides, always respect the difference.

© Don Worry / Juan E Correa

© Don Worry / Juan E Correa

Juan E. Correa, with the collaboration of the architect Héctor Martínez, has taken into consideration all aspects of the place, designing both a huge sculpture and the landscaping, architectural elements, walks, etc. You have to understand that Circulación del aire is not so much a site-specifific project as, I am worth the pun, a project that generates a site. In that park in the Tamaraceite neighborhood, a sculpture has not been "placed", but rather an intervention thought from a "sculptural" point of view, has articulated the entire territory. It is, in my opinion, one of the most lucid manifestations of public art that has been carried out in the international context.

© Don Worry / Juan E Correa

© Don Worry / Juan E Correa

Without any doubt, this project will be understood as an exemplary reference of democratic public art, a model of fruitful dialogue between the sculptural and the architectural, a renovating paradigm in the planning of spaces of aesthetic quality (habitable and hospitable) that allow us to understand how to live together. Circulación del aire offers a unique place where the metal elements of the sculpture rise and fall, curve and almost knot, proposing visual routes that are punctuated by angular structures, perhaps alluding to eccentric trajectories or suggesting lines of flflight; at the same time in this public work what we have is a meeting space, a commonplace where everything has been thought (from gardening to the structure of the routes) to welcome others. Therefore, here the "circulation" is, paradoxically, a suggestion that sometimes it is worth stopping and enjoying logics different from those of consumption or speed, while the allusion to air, a constant in Juan E's work Correa, is nothing more than an invocation to a contemplation of the invisible that, nevertheless, allows us to continue alive. In an age of pandemic phobias, Circulation del aire has something of a “utopian space”, a place of hope, a breathable place.

标签
# 公共艺术 # 艺术装置 # 艺术与雕塑

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