Teresa Marquina
Writer
With Measure
We reach the work of art by means of a path. A path that both creator and recipient must clear no matter how thick the frond, although sometimes we don’t even see the frond and it seems that to the artist it emerges by spontaneous generation, for free or at least quite cheaply. This mismatch between the work itself and what is behind it, the creator’s intention, is generally seen in the visual arts as a function of size, except in the world of consecrated miniatures – or almost miniatures – which deservedly attract lines of connoisseurs as well as tourists. But that’s not the most frequent, at least in my personal experience.
I remember, in my childhood, the Sunday visits to the Prado Museum in which the rooms of Goya, Rubens, Velázquez, etc. were always crowded. In addition to the strength of their figures, landscapes and colors, the size of those canvases overflowed my child’s eyes.
Look at the way the horse looks at you, my mother said to me in front of “The Surrender of Breda”. His eyes follow you and at the end he turns around and continues looking at you as if he were real.
Then I, walking back, renewed my steps without losing sight of the horse and I verified that my mother told the truth and that that horse was magic, like the camels of the Three Wise Men or their pages. The icing on the cake, however, was provided by my grandfather, showing us “The Death of the Virgin” by Mantegna, one of his favorite treasures. Oh yes, how pretty, I imagine that I would have said, but the truth is that I hardly noticed it, because compared to the others, it seemed small. My retina was co-opted by those magnitudes, drapery, lights and especially by the horse’s eyes.
Almost eighty years have passed. I still evoke that horse whose eyes followed me and now I think that it wasn’t magic, but a lesson: he wanted to show me what was behind every optical effect, every brushstroke of the artist and, in short, every work, independent of its real or imagined size. Nevertheless, and following my theory, the smaller they are, the easier it is for the resulting work to be overlooked or insufficiently appreciated by most of us, those who don’t understand or are unfamiliar with the matter. Even more so if it is a print ten by ten centimeters next to another of the same dimensions. A tiny regularity to which the layperson is unaccustomed and does not relate it either to the “ground-breaking” or the classical: there is too much asymmetry ingrained in our current surroundings, too much needless provocation, too many large walls filled with emptiness. So often you can’t see the forest for the trees.
Hence – for those who chart the cultural past, present and future of Cadaquès – the transcendence of the figure of Pascual Fort, who created the First Mini Print International forty years ago from his printmaking workshop, formerly of enamel. That is to say, from the silent and solitary effort of the artisan who knows his craft well but is unsatisfied: he needs to know the work of others by means of reduced, measured samples. And it is Pascual’s disinterested gesture of the good creator that makes him great, and makes him wise. It feeds him and confers a seal of permanence on the Gallery. It creates, in the increasing number of participants of the past and present who come from anywhere in the world, a longing to continue searching, innovating and going beyond the limits in their work, as tiny as it is infinite. A desire for continuous search above any other desire.
After almost half a century it is fair that we pay tribute to him, as well as to Mercedes Barberá, alma mater of the Mini Print, a project that she shared with Pascual from the very beginning and that, by virtue of her effort, perseverance and love she has been able to defend, making it a raison d’être. Thank you Mercedes, for teaching us to look, to learn, to hope… and to persevere!
As a worthy tribute, one of my favorite poems by my grandfather Eduardo Marquina:
PRAYER
A hidden fountain
a thirsty walk
and at the end of the road
to find it and drink.
I wouldn’t ask Heaven in my lifetime
for another blessing.
But if God could not
my wish attend,
I would say to God: nothing
do I ask from you,
the fountain I do renounce
as well as the path.
But until I die,
do conserve my thirst.
Mercedes Barberà Rusiñol
Director of the Mini Print International of Cadaqués
Observing the ideas, forms and colors that form the mosaic of works by the participating artists of the Mini Print International of Cadaques exhibition, makes me think of the different individual and group graphic workshops of the many represented countries. These workshops, motivated by the artists who send us their works, investigate new, non-contaminating, ecological, so-called “green” materials to use in the various techniques. They study the artistic possibilities that new technologies put within their reach, ever improving the quality and beauty of the results.
This idea encourages me to give continuity to the existence of the Mini Print International of Cadaques and to fight for its permanence in the world of visual culture. The exhibition gathers these examples of modernity, exhibits them, recognizes their value and rewards them.
The personal exhibitions of the award-winning artists of the previous year are a great incentive to visit the Taller Galeria Fort during the summer in Cadaques. This year we have counted on the presence of Marta Balada (Catalonia), Toshiaki Shozu (Japan), Mariela Canchari (France) and Peili Huang (Taiwan). Although Nadejda Ménier (France) did not attend her exhibition, her mezzotints where very highly regarded. Unfortunately, we did not receive the work of the Cuban artist Ibrahim Ambar Ricardo for reasons beyond his control.
The winning artists who came to Cadaques, shared their knowledge and personal techniques. Visitors admired the high artistic quality of their work. Experts in the field conversed with them about their work and the materials and techniques used. During their time here they acted as jurors of the current show.
Their work was also shown at the Arteria gallery in Igualada (Barcelona). Lluïsa Avante’s willingness to take these exhibitions year after year is now consolidated. Finally, a copy of each winning print has been deposited in the Library of Catalonia’s Mini Print Archive.
The Mini Print International of Cadaques began its itinerary in the Wingfield Barns of Wingfield (England) thanks to the dedication of Ian Chance who has made this possible for so many years. Our thanks for such a continuous effort.
The Tharrats Foundation of Graphic Art in Pineda de Mar (Barcelona) welcomes the Mini Print with great interest during October, carrying out its cultural work among the surrounding towns.
During November, December and the middle of January the Mini Print International of Cadaques is exhibited in the gallery l’Etangd’art in Bages (France), a beautiful village near Narbonne. The show is widely visited and very appreciated for its didactic value.
This winter we have suffered the unexpected and painful loss of the journalist and great communicator Montserrat Minobis. Her great knowledge led her to occupy high positions of great responsibility. We loved and admired her. She wrote the catalogue presentation of the 37th Mini Print International of Cadaques. She will always remain in our memory.
This summer our activities were reported in the following media: Catalan television TV3 which aired a short report, the magazines Bonart, Setmanari de l’Empordà, Hora Nova and the newspapers Diari de Girona, El Punt Avui and La Vanguardia. We appreciate their priceless collaboration.
Next year the Mini Print turns 40 years old, thanks to the cooperation of so many artists who have supported us during all these years. We look forward to your presence again as well as that of all those who think that the Mini Print International of Cadaques deserves to continue.
With hope,