Ferran García Seville. Against the "making of power"

The operation to rescue Ferran García Sevilla from his radical position against the artistic institution has ended well and it was fair to do so for what his contribution to artistic rebellion has meant in the context of art Catalan and Spanish. It was not very clear that there was a happy ending . The encounter with the curator Teresa Grandas preparing a possible retrospective at the Macba ended badly. The artist did not want the work to be treated like the rest of the artists of the conceptual generation exhibited in the institution who, despite the disagreement with the official curator of the museum, continued to give in most cases a result very below their means.

It was a pity to see in his studio in Sant Just Desvern all the folders of his conceptual works from the seventies on the floor and about to be thrown in the trash. The MNAC took an interest in this unfortunate matter and has obtained the donation of 54 works dated between 1966 and 1974, in an exhibition that is complemented by the Cosmos-Chaos exhibition, which is on display in Tecla Sala.

Finally, then, the most rebellious, irreducible, independent and libertarian artist of the generational harvest of the last decades who has expressed himself a thousand times against power, violence, what is politically correct and viscerally against galleries , curators, critics and museums has ended up within the artistic institution, but not as the institution wanted, but as he wanted. This is what the Cosmos-Chaos exhibition at Tecla Sala shows, the artist who has gathered works, mostly paintings, those that make the artist a launcher, an explosive dart on the monstrosity that nested inside man, chaos, violence, evil, stupidity, disorder: “I don't paint to sell. I paint for others to think and feel.” Existential and moral questions where there is conflict motivate him to continue working.

The intellectual apparatus of Ferran García Sevilla is as wide and intense as the adrenaline that activates his critical apparatus against everything that is politically correct, because it hides repression and buried violence. He has avoided being instrumentalized by any institution. Nor did the Museo Reina Sofía manage to use his work El far lo del poder (1976) to celebrate the forty years of the Spanish Constitution. And it is that behind the "making of power" there is a fierce criticism of the "phallocracy" of institutional, political, papal power and the rebellion towards the figure of the father that he so well defined in his installation ·lation Patrius, patria, patrium (1975-76), against the figure of Franco and his own father. In the scope of this work In the number of the POPE , he writes: “ Papa, siempre te has llamado Jesús García Pastor. "