One of the most important abstract painters of his generation in Spain, Jordi Teixidor identifies with the intentions, strategies and content of the work of Mark Rothko, Ad Reinhardt and Barnett Newman; with Cy Twombly and Agnes Martin; and with American painters of his own generation, particularly with Brice Marden and Robert Ryman. El Lugar de la Ausencia is the first solo exhibition of the artist’s work in an American Museum.
This exhibition opens November 8, 1997 and closes February 8, 1998.
A conversation with the curator of the exhibition, Marilyn Zeitlin:
Karen Gilmore: As a curator known best for showing art that interfaces with social issues and for presenting new media, you will surprise our audiences by showing the paintings of Jordi Teixidor. Can you tell me how this has come about?
Marilyn Zeitlin: About a year ago, I was having dinner with Francesc Torres, his gallerist Elba Benitez, and Jordi joined us. At some point, Elba said, “It is a shame that you do not like painting, Marilyn, because Jordi is a very good painter.” Torres then answered for me, “But she does like painting.” So I found myself doing a studio visit the next day. It was a strange experience, because I had just come from Cuba, and was feeling surfeited by European art and life. I saw Jordi’s paintings, and was furious. I think that he read my expression, and retreated to make some coffee. I thought, “How can you make THIS when the world is coming down around our ears?” But by the time he came back with the coffee, I was totally convinced about SOMETHING in the work: his incredible focus, for one thing. And my first thought, at this point, was that the paintings arrested the progress toward death. Read my catalogue essay to discover how these paintings can keep you from mortality. (Available after Nov. 1 at this URL.)
No, seriously, I spent the next year obsessed with this work, thinking about it and why it has such a hold on my mind. I read and re-read work on Abstract Expressionism, aesthetic theory, Spanish poetry. I had a wonderful time. A friend says that I would see her and blurt out these weird oracular utterances about utopia, or take off into the wild blue about the veil before the face of God. It was one of the most wonderful years of research and thinking I have ever spent. Jordi was extremely patient with and generous with me, conducting an intensive correspondence, sending photos of new work.
Then in March, I went to Spain to see his retrospective at the Instituto Valenciano de Arte Moderno, in Valencia, his home town. I was worried that when I saw the work again, the power would not be there. But it was, it was. He and I worked about every other day for two and one-half weeks, talking about the work and all the ideas I had accumulated since the previous July. He showed me his first box of paints, with the tradename “El Pescador,” the fisherman, with an image of a ship more appropriate to conquest. His family history crosses my interest in Cuba, too, so we talked about colonialism and violence and Jos‚ Marti and Che Guevara. We became friends. Does that answer your question?
Karen Gilmore: How does this work relate to Abstract Expressionism done in the United States?
Marilyn Zeitlin: Ah! For that, you must come to the show, and read my essay in the catalogue. Remember, above all, these are paintings, and to be enjoyed as well as analyzed. Both. Jordi strives to create works that engender “reflection.” If I do my job right, the installation will allow the paintings to take you into his realm of reflection. I promise, it is a wonderful place to be. And please come hear him talk about the work. He is erudite without being academic. And an utterly honest, charming person.
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